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An Investigation Into the Exchange of Artistic Motifs Between the Aegean, Egypt, and the Near East In THE AEGEAN AND THE EAST An Investigation into the Exchange of Artistic Motifs - between the Aegean, Egypt, and the Near East in the Bronze Age by J.L. CROWLEY B.A.(Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy UNIVERSITY OF TASMANIA HOBART 1977 THE AEGEAN AND THE EAST VOLUME I TEXT VOLUME II PLATES This thesis contains no material which has been accepted for the award of any other degree or diploma in any university nor does it include any copy or paraphrase of material previously published or written by another person except when due reference is made in the text. Signed: Date: THE AEGEAN AND THE EAST TABLE OF CONTENTS VOLUME I TEXT VOLUME II PLATES THE AEGEAN AND THE EAST VOLUME I TEXT Content6 Page ACKNOWLEDGEMENTS (1) LIBRARY ABSTRACT - Summary of the Thesis (ii) ABBREVIATIONS (iv) Intnoduction 1. INTRODUCTION AND CHRONOLOGY 1 Pala I The Moti64 2. MOTIFS COMMON TO THE AEGEAN AND THE EAST Heraldic Poses 15 Antithetical Group 23 Mirror Reverse 27 Contest Scenes, Struggling Hero, and Master of Animals 30 Mistress of Animals 35 Sphinx 41 Griffin 47 Dragons and Crocodiles 55 Thoueris and the Minoan Genius 59 Sacred Tree, Sacred Pillar 65 Palm, Palmette 72 Papyrus, Lotus 76 Rosette 83 Quatrefoil 89 Scale Pattern 92 Guilloche, Linked Circles, Quirk 95 Spiral 100 Flying Gallop 107 Page 3. OTHER MOTIFS IN EASTERN OR AEGEAN ART Smiting Figure, Pharaoh and Weather God 113 Star Disk in Crescent 116 Winged Sun Disk 119 Scale Mountain 120 Duel 121 ' Bull Sports 124 Fish, Dolphin, Octopus, Nautilus 126 Tricurved Arch 128 Rocky Landscape, Glen 129 Marbling, Colour Waves 130 4. AEGEAN AND EASTERN ARTISTIC CONVENTIONS AND THEMES The Human Figure 132 Borders 140 War, Hunt and the Chariot 142 Ritual and the Gods 146 Animals, Bucrania 148 Ships 154 Para II The AAtiistic IsAues 5. THE QUESTION OF ARTISTIC EXCHANGE Indigenous Creation and Motif Transference 156 The International Repertoire 169 6. THE FOREIGN MOTIF IN THE INDIGENOUS STYLE The Intrusive Element 181 The Incorporated Element 185 National Styles 189 7. THE INTERNATIONAL STYLE Ornate and Severe 196 The Classification of Individual Pieces 206 Page 8. MEANS OF TRANSFERENCE The Direct Import 222 The Skill of the Craftsman 226 Mobility of the Personnel 230 Royal Prerogative 240 9. THE ACCEPTANCE AND REJECTION OF MOTIFS Aegean Attitudes 245 Conacaion 10. SUMMARY OF RESULTS 261 BIBLIOGRAPHY 271 THE AEGEAN AND THE EAST VOLUME II PLATES Contentz 1. PLATES Notes on the Plates and Plate List 1 List of.Plates 3 Plates 1 - 544 51 2. CONCORDANCE OF SITES AND PLATES 156 3. CONCORDANCE OF MOTIFS IN AEGEAN GLYPTIC Notes on the Compilation 159 Concordance 160 4. MAPS MAP 1. The Aegean, Egypt, and the Near East 165 MAP 2. Interconnections c1850 to c1750 166 MAP 3. Interconnections c1600 to c1500 167 MAP 4. Distribution of Minoan and Mycenaean Pottery and Objects in the East 168 THE AEGEAN AND THE EAST VOLUME I TEXT ACKNOWLEDGEMENTS I have to thank first the South Australian Branch of the Australian Federation of University Women for the award of the Jean Gilmore Bursary which helped make possible my first trip to Greece in 1973. Next I must thank the University of Tasmania for Study Leave in 1976 in which I again visited Greece and consolidated much of the Minoan and Mycenaean material I had been researching, as well as visiting most of the major European museums where much of the material treated in this thesis is displayed. A special tribute must be paid to the British School of Archaeology in Athens for their warm welcome and help on both occasions when I was in Greece. I am sure they do not realize the extent of the debt that scholars from far countries owe to the British School. My appreciation is also due to the many people who have encouraged me, my colleagues at work and my friends at home. I would wish to mention my special thanks to Professor Homer Thompson and Dorothy Burr Thompson for their encouragement to continue with the topic and to visit Greece as soon as possible. There must be a great number of people who, like myself, have come to Greece and benefitted from their welcome, their practical suggestions, and above all from their immense enthusiasm for all scholarship in all fields of ancient studies. I must also express my warmest thanks to my two s4pervisors: to Mr. R. G. Hood for his patient reading of the drafts and for his challenging questions; to Professor P.R.C. Weaver for his comments as the work progressed and for his quiet confidence that the thesis would surely be completed. Finally I must thank my family, without whose support the thesis could not have been written. December 1977 Hobart. LIBRARY ABSTRACT Summary of the Thesis The aim of this thesis is to investigate the artistic phenomenon that, in the Bronze Age, many motifs were used in common by the arts of the Aegean, Egypt, and the Near East, in order to come to a conclusion as to whether this common usage can be attributed to indigenous creation in each separate area or whether it is due to crossfertilisation of the artistic traditions. The thesis is presented in two volumes, VOLUTE I TEXT and VOLUME II PLATES. The text volume contains a list of abbreviations, the text arranged in four sections, Intnoduction, Pa/a I The Moti64, Pant II The Akti.stic I44ue4, and Conctuzion, a bibliography and chronological table. The plate volume contains the plates and plate list, a concordance of sites and plates, a concordance of motifs in Aegean glyptic, and a set of maps. The plate volume is considered integral to the thesis as being the true record of the primary source material. In VOLUME I TEXT the Intnoduction states the aim of the thesis, outlines the chronological stand taken, defines the principal artistic terms used, and defends the methodology of iconographical analysis. Paia I The Moti44 discusses over fifty motifs covering a wide variety of subjects, heraldic and religious symbols, floral and linear designs, the human figure, and general themes like war and the hunt. With the help of a precise terminology these motifs are studied individually having regard to their early traditions, their subsequent modifications, and to the variations acceptable in different areas. Pala II The Aittiztic 144ueis opens with a discussion of the problems that arise from the above detailed survey of motifs, the most important one being the question of possible transference of motifs from one artistic tradition to another. On the basis of the correspondence of iconographical detail it is argued that twelve motifs transfer from the eastern traditions to Aegean art and that two motifs transfer from the Aegean to the East. The iconography also suggests the likelihood of the transference of smaller motifs and artistic details out of large scale compositions. The result of these transferences is the establishment in the Late Bronze Age of an International Repertoire of motifs drawn upon by the artists of many lands, Aegean and eastern. Para II goes on to assess the extent to which the foreign motif is assimilated into the indigenous tradition. Two levels of penetration are distinguished, an initial level, the Intrusive Element, and a deeper level, the Incorporated Element, where the exotic motif is assimilated into the local style. Patt IT further argues that some pieces fall into a special category for which the recently coined phrase International Style is accepted, and after classifying some special examples, it examines the means by which the motif transferences may have been effected. Pakt II concludes with a discussion on the acceptance or rejection of particular motifs by Minoan and Mycenaean art. The Conctubion provides a summary of the results or this investigation of artistic motifs, and assesses the contribution of this thesis to scholarship in the fields of ancient art and art history. ABBREVIATIONS AKUR AKURGAL, E. (1962) The Ant o lc the Hittites. ALAL WOOLLEY, C. L. (1955) Atatakh. ALDR ALDRED, C. (1971) Jewit's o6 the Phakaohs. AMIET AMIET, P. (1961) La Gtyptique M6sopotamienne Akchaique. BYB.D DUNAND, M. (1954) Fouittes de Bybtos, Tome II. BYB.M MONTET,.P. (1928) Bybtos et t'Egypte. BOG V BERAN, T. (1967) Die Hethitische Gtyptik von Bogazkoy I. BUCH BUCHANAN, B. (1966) Catatogue o6 Ancient Newt. Eastekn Seats in the Ashmotean Museum Vat. 1 Cytindek Seats. CCA3 KENNA, V.E.G. (1971) Cokpus o6 Cypkiote Antiquaies Va. 3 Catatogue oi Cypkiote Seats o the Bkonze Age in the Btitish Museum. CMS Cokpus dek Minoischen arid Mykenischen Sieget. SAKELLARIOU, A. (1965) Die Minoischen and Mykenischen Sieget des Nationatmuseums in Athen. 11.1 PLATON, N. (1969) 1kaktion Akchaotogisches Museum, Die Siegel dek Vokpatastzeit. 11.5 PINI, I. (197C) Ikaktion AkchHotogisches Museum, Die Siegetabdkucke von Phastos. IV SAKELLARAKIS, J. A. and KENNA, V.E.G. (1969) Ikaktion Sammtung Metaxas. V PINI, I. (1975) Kteinene Gkiechische Sammtungen. VII KENNA, V.E.G. (1967a) Die Engtischen Museen 11. VIII KENNA, V.E.G. (1966a) Die Engtischen PAivatsammtungen. IX VAN EFFENTERRE, H. and M. (1972) Cabinet des 4.daittes de - ta Bibtiotheque Nationate XII KENNA, V.E.G. (1972) Nondamutika I, Nov Vo&k, The Metkopotitan Museum o.6 Ant. XIII KENNA, V.E.G. and THOMAS, E. (1974) NoUtamehika II, Ktaneke Sammtungen. FRANK AA FRANKFORT, H. (1954) The Mt and Anchitectuke o6 the Ancient 0/tient. (v ) FRANK CS FRANKFORT, H. (1939) Cyeindek Seats. FURU FURUMARK, A. (1941a) The Mycenaean Pottety. KARA KARAGEORGHIS, V. (1968) Cyp/m4. KARO KARO, G. (1930) Die Schachtgtdbet von Mykenai. LANGE LANGE, K.
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