A Bull-Leaping Fresco from the Nile Delta and a Search for Patrons And

A Bull-Leaping Fresco from the Nile Delta and a Search for Patrons and Artists Taureador Scenes in Tell El-Dab'a (Avaris) and Knossos by Manfred Bietak; Nanno Marinatos; Clairy Palivou; Ann Brysbaert Review by: Maria C. Shaw American Journal of Archaeology, Vol. 113, No. 3 (Jul., 2009), pp. 471-477 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/20627599 . Accessed: 09/11/2012 06:38

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http://www.jstor.org REVIEWARTICLE

a A Bull-Leaping Fresco from the Nile Delta and Search for Patrons and Artists

MARIA C. SHAW

and even ear Taureador Scenes inTellEl-Dab'a (Avaris) Egyptian pictorial and written records going back lier than Thutmose III.2 Knossos, byManfred Bietak,Nanno Marinatos, and with a contribution Ann ClairyPalivou, by Brysbaert. CONTENTS OF THE BOOK Pp. 173, b&w and color 138, color 17. figs. pis. One must first how excellent Bietak's Osterreichischen Akademie der emphasize publica Wissenchaften, tion is, not least because of the brilliant illustrations that allow Vienna 2007. 75.80. ISBN 978-3-7001-3780-1 the reader to see every little detail. Of course, quality in all to (cloth). respects is be expected from both the discoverer and his collaborators, Marinatos and Palivou, foremost scholars in This book the the Aus presents outstanding discovery by the Bronze Age Aegean. Brysbaert has also contributed her trian excavator Manfred Bietak of a toreador as a on fresco, frag expertise scientist who has worked plasters and other ments of which he found in at Tell located at a Egypt, el-Dab'a, materials great number of prehistoric sites. in the Pelusiac branch of the Eastern Nile Delta. The site The book is divided in three parts: part 1 presents the was once of the of the who were part Avaris, capital Hyksos, archaeological and pictorial evidence; part 2 has a restora ousted the at the of the New a new by Egyptians beginning King tion and study of the famous Toreador fresco from dom. Bietak attributes both the toreador at as composition and the palace Knossos, which is used the main comparan other found with it to the latter dum for the paintings period, arguing Tell el-Dab'a painting; and part 3 contains two that Minoan artists executed them. special studies. In part 1 (ch. 1 [13-44]), the excavator introduces the introduction reader to the site: its history and topography and the loca The at Tell el-Dab'a constitute one of the paintings undoubtedly tions/contexts plaster fragments. Two large buildings, of themost and discoveries F and which he are to exciting important archaeological G, calls "palaces," assigned the early made in the later decades of the 20th So do 18th in the of to century. closely Dynasty, reign Thutmose III?the period Bietak and the other authors link the toreador which he also attributes the contributing plasters. Only the rectangular fresco to the and iconography style of Minoan painting that foundation walls, built of mudbrick, survive. Within the lat are convinced the at Knossos sent its own artists they palace ter, brick walls form compartments ("casemates") that were tomake the to this momentous filled with earth. Neither floors nor walls are painting. According Bietak, preserved. event took in the of Thutmose in the first half Bietak believes that most of the place reign III, plasters found in dumps of the 18th to Late Minoan IB in east of a to area Dynasty, equivalent (LM) ramp leading the building and in H/I (27 Crete. Needless to this book will be a matter of to near were say, impas [fig. 24]) belong Building F. Those Building G sioned interest to both and of found in areas near an entrance Egyptologists archaeologists H/II-III, H/VI, through are reasons the Bronze Age Aegean. There also to turn to the enclosure wall leading to the building (30 [fig.27]). A the eastern for Mediterranean the frescoes' further possible chronological chart (16 [fig.5]) assigns themaking of the as well as for how the bull frescoes from G to oc inspiration, suggestions regarding Building phase C/3; their dumping theme was transferred to in leaping Egypt. curred C/2. The buildings, Bietak concludes, could not The discoveries at Tell el-Dab'a were more exciting brought have been used for than 50 years. Fill at the top of the to the attention of the thanks to dates to the successor public nearly immediately, dumps time of Amenhotep II, to Thut the excavator and his announcements in mose III. not newspapers, peri Such views do always agree with those of other and a odicals, publications, including small book published scholars. For instance, there are those who still believe the in 1996?when Bietak believed the to more date is the not paintings belonged likely Hyksos period,3 and it does help the era of The of the dis Hyksos occupation.1 importance that the present publication does not include any substan can be with that of the so-called Keftiu tive on a covery compared report conclusions drawn from formal study of the found on the walls of rock-cut tombs of offi were paintings high pottery with which the plasters associated. cials at in That the word "Keftiu" Thebes, Upper Egypt. may Bietak explains the presence of Minoan frescoes at Tell have referred to the seen were on Minoans, bringing precious gifts, el-Dab'a by suggesting that they made the occasion was first after review of of a a proposed by Vercoutter, systematic dynastic marriage involving Minoan princess. With that

3 bietak 1996. Niemeier and Niemeier 1998. 2Vercoutter 1956, esp. 119.

471 AmericanJournal ofArchaeology 113 (2009) 471-77 472 MARIA C. SHAW [AJA113

a room to in mind, he restores throne in Building F after the Strange, given that the painting is generally believed be of at even pattern of the Throne Room of the palace Knossos, includ LMII/IIIA date, by this book's authors. Its iconography on also seems to to that date. is ing the painted decoration of antithetical griffins either belong It also worth noting that are side of the throne (40 [fig.36]). His evidence forgriffins is the human figures in the Tell el-Dab'a painting neither a of the size of those in the wall-sized Knossian murals nor plaster fragment from Tell el-Dab'a that preserves part nearly a Minoan ex those inminiature both are earlier wing decorated with spirals that characterize painting; styles likely than we no it came from. the sizes. amples, but, of course, have idea where intermediary to Marinatos' contribution and To complete his restoration, Bietak assigns the imagined ("Bull-Leaping Royal Ideol room a a in comment. throne floor painted with mazelike pattern, known ogy" [ 127-32]) chapter 2 of part 2 requires brief from plaster fragments in the dumps (40 [fig. 36]). One of her illustrations compares varieties of leaping poses in turns The remaining chapters in part 1 deal direcdy with the Knossian and Tell el-Dab'a depictions, and she dis scene to on to toreador itself. Chapter 2 (45-66), written by the three cussion the bull games visible Syrian seals dating ca. as a main authors, discusses and illustrates the individual frag 1800 and 1700 B.C.E. possible inspiration.4 Reason ments some were and is followed by two restorations that differ ably, Marinatos rejects the theory that the latter the art what from each other, both sumptuously illustrated in color main inspiration for the Minoan paintings, since major two different forms affect minor art and not the other (figs. 59A, B, 60). Bull-leaping is shown against normally forms, around. backgrounds: the first, the rocky countryside, divided into way zones three undulating of red, yellow, and blue; and the In part 3 of the book, the first study (again by Marinatos) on second, the mazelike pattern. discusses the "Rosette and Palm the Bull Frieze from to us Palivou has designed astounding techniques let Tell el Dab'a and the Minoan Solar Goddess of Kingship" see worn as art the designs nearly they looked originally. Her (145-50). By analogy with Syrian and Hittite hieroglyphs, use rosette seen as method, put to in chapter 2, involves intensifying lines, the is "a determinative of deity" (145). This motif fuses with the "solar and the patterns, and colors progressively, through digital photog Egyptian disk," resulting The resembles the Knossian with a raphy, until maximum visibility is attained. process symbol design split-rosette to be which also on the dress of a woman in the brings the paintings back life and should henceforth frieze, appears Procession fresco from Knossos and the facade of the used in the study of all Bronze Age paintings, particularly Myce Selective naean Tomb of Atreus in stone The those (often poorly preserved) from the Aegean. royal (there relief). palm illustrations of the stages in such a "reconstitution" (as Ev tree, Marinatos continues, must be connected with the "palm ans is seen in art in the of or might have called it) show that the process reliable; standard" Syrian company goddesses are Palivou is and these con the results magical. Another contribution by priestesses kings (147). Combined, symbols a of a stitute "the emblems of a female solar in her explanation of how, through series drawings, grid deity" worshiped was Tell el-Dab'a art Crete Bull were thus held and bulls sacrificed of impressed string lines used by the (147). games to maze in honor of this solar ist help render the intricate pattern (47 [fig. 71]). goddess. from In the of this This grid clearly matches such devices known Crete, process formulating intriguing interpretation, not us not but it seems to me to be more elaborate, because only Marinatos takes into iconography that involves only of the constituent motifs were Crete and but the Levant as well. She reminds us how the grid but also the outiines Egypt a in Cretan also looked Crete with to the impressed, step unknown paintings. Morgan beyond regard paint 1 was written Bietak and deals at Tell the scenes as of Chapter 3 in part (67-86) by ings el-Dab'a, seeing bull-leaping part senses some an Mediterranean" koine With such comments with many topics. One repetition, also reflected "east (132).5 a focus in it is obvious that we must this three-sided rela in duplicate illustrations. Fewer chapters with tighter mind, keep inmind as we to consider the Tell el-Dab'a would have helped. The main themes of this disparate chap tionship attempt are in international terms. ter relative chronology; technique and color conventions; phenomenon and contributed the last in 3 the motifs; compositional principles, bulls, toreadors; Brysbaert study part (151-62) in the latest methods to the meaning of the half-rosette and bull-leaping Aegean and, using analyze plaster, pigments, conclusions on the bull and she arrives at the conclusion palatial iconography; and general techniques, important at in that the used at Tell el-Dab'a was made of also painting Tell el-Dab'a and bull-leaping general. Lastly, plaster lime, illustrates and all the used in fresco chapter 4 in part 1 (87-111) catalogues Aegean painting. By contrast, Egyptian paint scenes and includes used the where the derived fragments of bull-leaping digital photo ing tempera technique, plaster how looked before from and the were made to adhere graphs of the fragments, illustrating they gypsum, pigments per out Palivou. to the surface them with adhesive and after the digital processing carried by manently by mixing agents Scenes in such as white. In chapter 1 (115-26) of part 2 ("Taureador egg a new The comments concern three broad Knossos"), we find study of the famous toreador fres following questions a new about the Tell who were the coes from Knossos and fine reconstruction prepared el-Dab'a paintings: (1) artists?; one Cameron who were the who ordered the and by Marinatos and Palivou, superceding by (2) patrons paintings?; It is based on in the Herak when were the made? These (117 [fig. 101a-d]). fragments (3) paintings questions have, were enhanced in been asked others before and will leion Archaeological Museum that digitally varying degrees, by in 3 of continue to be asked. What follows is but one of by Palivou and catalogued chapter part 2 (133-41). perception The new reconstruction is useful to all, but its inclusion is the Tell el-Dab'a enigma.6

6 4 This author wishes to her indebtedness to For these, Marinatos refers to Collon 1994, pis. 1-3. express peo 5 as link" between conversations with contributed to her For the role played by Syria "a cultural ple, who, through her, issue: A. L. Crete and the East, see Smith 1965, 3-21. understanding of this major historical Chapin, 2009] A BULL-LEAPING FRESCO FROM THE NILE DELTA 473

noan art. not THE IDENTITY OF THE ARTISTS AND THE Egyptian painting provides examples. There, are or CHARACTER OF THE ART only groups of people objects shown overlapping but are scenes or there also of fishing spearing fish, where hu "Character" here includes and mode man are rows theme, iconography, figures and fish and waterfowl shown against of The clear source of thematic water representation. inspiration of vertical zigzag lines that conventionally render the is that of the frescoes from the at which fre a or a a palace Knossos, of river lake.12 This may be parallel for the way bulls and for an extended featured are quently, period, bull-leaping and leapers shown against the maze, which may symbol scenes. The theme later to and even ize a built a spreads palaces perhaps environment, represented by patterned plaster houses on the mainland. So Tell el-Dab'a is or a a Mycenaean far, floor by floor covered by patterned carpet. Given such the where is known in the form of a it only place bull-leaping parallels, appears possible that Egyptian painters also may wall outside the For our the have in major painting Aegean. purposes, participated the making of the Tell el-Dab'a painting term "Minoan" refers to and from Crete. own people objects by contributing their iconographic conventions. Bietak to our attention a feature of the toreador brings Could there have been other painters besides Minoan, scene that be a of in the Tell and may significant: couple leapers Theran, Egyptian? To explore the question, we need to el-Dab'a are shown with hair shaved and turn to a so painting partially chronologically distant parallel. I refer to the the hairless areas indicated in blue. These are sideburns called Investiture scene at Mari, in northwestern Mesopota no. and the of a neck and sideburns was (cat. A30) nape (cat. mia, in the Palace of King Zimri Lim, which destroyed no. As Bietak notes to F4). (77), this convention points Late by Hammurabi ca. 1760-1750 B.C.E. Its excavator saw the I in but similar shaved sideburns as Cycladic paintings Thera, painted decoration having affinities with paintings inMi are also found on the Bearer fresco.7 The latter has been noan on Cup Crete, particularly its spiral frieze?similar friezes dated Immerwahr to LM but the former of the are by II/IIIA,8 Crete associated with depictions of veined stone. Archi two dates she offers in the more the tecture on is, my view, likely, given involving this kind of stone is typical Crete but use an careful of artist's grid to render the textile patterns not in the Levant.13 To the Cretan connection with Mari we on the clothing of the participants in the procession. What can now add some new information, based on recent discov one venture to as an more might offer explanation for the eries at the Minoan site of Kommos on the southern coast Theran trait at Tell el-Dab'a?since Akrotiri was al of I to a distincdy Crete. refer spiral frieze in Middle Minoan (MM) the of a who had been III on a next to ready destroyed?is presence painter Building T, painted plaster floor running trained in Thera or in a tradition and had a wall with a was Cycladic joined painted dado, which divided into panels, as an others in Egypt itinerant artist. each decorated with simulations of veined and other varie The idea of artists from more than one kinds of The deriving geographi gated stone.14 closest parallel for the Kommos cal location can be reinforced the character of the is a at by hybrid example built podium Mari, its surface painted with art itself at Tell el-Dab'a.9 A case is the "maze." imitations of slabs stone a conspicuous of veined surrounded by spiral What is is the peculiar "un-Minoan" practice of superimpos border.15 The assumed date of ca. 1750 B.C.E. for the Mari a scene over the well with the ing figural (bull-leaping) complex, busy, paintings compares Kommos example, which meanderlike Minoans almost show human pattern.10 always is likely somewhat later. a blank with associated At the scene seems to figures against space, any background Mari, Investiture be the product elements located in areas the of the scene. of a confluence of its beyond figural part styles, despite basically Mesopotamian this it has been that there in These to Against claim, objected exists, character.16 point both Egypt and the Aegean. The an on a seal from Gournia that features a bull is built in three a fact, image composition parts, like triptych, perhaps an architectonic One to this in the minor arts. against background.11 response imitating designs The central part depicts is that different rules to different artistic an compositional apply the king accompanied by entourage of humans and dei media and that the afforded on a seal tiny space provided ties that stand within what appears to be an interior space. It the with one of two choices: either to is outlined and set areas engraver superimpose thus off from directly outdoors, to elements in a never done in the art of the and left. pictorial way major right Mythical quadrupeds, sphinx- and griffin wall or to show them on the of the lim are on painting periphery like, poised the branches of trees directly next to the ited surface available. while structure, birds flutter their wings at the top, above To address the of elements problem overlapping pictorial the foliage. The relative naturalism of the outdoors bears at Tell we have to turn Mi an with nature con el-Dab'a, may elsewhere, beyond affinity Aegean scenes, another Aegean

S. 11 Girella, Manning, J.B. Rutter, J.W. Shaw, and especiallyJ.G. CMS 2(3), no. 238; Niemeier and Niemeier 1998, 92. as Younger. However, and, Younger informs me comm. 2009), 7 (pers. Evans 706 as a silver sideburn or this is a seal a 1928, (misidentified actually cushion with typical architectonic de nament, as out to me comm. that was recut in the a pointed by J.G. Younger [pers. sign Early Neopalatial period with bull to the which is an 2009]). left, under unfinished object. 12 ?Immerwahr 1990,175. Sch?fer 1974, 200, 239-40; see also Mekhitarian (1978, 9 comments made at a conference who for from Among regarding 10-11) illustrations Saqqara (Fifth Dynasty) and have been the artists of the Tell el-Dab'a it is might frescoes, Thebes (New Kingdom). worth to 13 referring Egyptologist Edna Russmann, who raised Parrot 1958, vii-viii. the of a artists Shaw question possible participation by Egyptian 14Shawand 2006,140-42,212-13, pis. 2.39,2.41. (Sherratt2000,89-90). 15Parrotl958,xv,l-2. 10 16 Shaw Rehak Parrot 1995,105; 1997,401 (a review). 1958, color pi. A. 474 MARIA C. SHAW [AJA113

occurs nection being the spiral band that borders the composition Evidence for work by itinerant artists in paintings on all four sides. from the Levant, many?like those at Tell Sakka, Alalakh, to as was In addition its connections with Aegean art, the toreador and Kabri?incorporating Aegean elements, recently at to an even fresco Tell el-Dab'a may also relate the Man painting. discussed in article by Bietak, though he denies that to at Common both compositions is the paratactic arrange itinerant artists worked Tell el-Dab'a itself.18 It should be ment was of indoor and outdoor areas, the former represented noted that lime used for making the plaster at most of at or maze. at as was at as Tell el-Dab'a by the patterned floor Here, both these sites, it Tell el-Dab'a. Sometimes, at Ebla, a was so one the left and right of the floor (or built area), appears slim, lime used early that wonders if the fresco technique arose in upright element, marked by horizontal, multicolored bands, independently the Levant and the Aegean. a tree with palm rising above it. Clearly, the palms mark the transition from indoors to outdoors, and the painting may THE PATRONS WHO COMMISSIONED THE well have continued farther on the with an outdoors right PAINTINGS area on maze. matching that the left side of the Were this mean the case, itwould that, in both the Egyptian and the As mentioned before, Bietak attributed the toreador we are a a to Syrian paintings, dealing with tripartite composition, fresco and number of other compositions "Palace" F. areas or a were or to a with outdoor flanking surrounding building. The He believed they all made in honor of, please, we vertical barred elements in the Tell el-Dab'a painting recall Minoan bride. To consider this idea, might ask how ap were some the barred borders that usually frame and separate panels propriate of the themes of these paintings, and were not a woman inMinoan toreador paneled friezes, which shortened only for but also for her high-born Egyptian to an here by the ingenious artist make them look like the husband, perhaps Pharaoh Thutmose himself. On the ba tae two as a sis of both and Minoan of walls that acted fence. Syrian artistic depictions, Marinatos one to ones as a How is explain "connections" like the sug (132) interprets bull-leaping part of royal iconography are gested for Mari, Tell el-Dab'a, and Knossos?sites that of power, where the bull, representing the king's enemy, is so or If we geographically, and sometimes chronologically, distant? always defeated by the lion king. so, might raise the a to to We need, for moment, consider possibilities other than question of how evident such symbolism would have been cannot or a woman direct contacts for the existence of analogies that be the Egyptian pharaoh whether Minoan would attributed tomere coincidence. Here, I would like to intro have claimed it for herself. This reminds us that there is a a duce the term "virtual synergy" for relationship that may rather conspicuous absence among the paintings of themes women: even if were have existed between Crete, Syria, and Egypt. The only way connected with religion and with but this come means an act was to this could have about is by of itinerant, "ethni connected with rites of passage, how suitable it an art at and a Minoan married? One thinks of Minoan cally" diverse artists who carried learned home princess already on to create a like the famous inhabited two women their travels began repository of elements that paintings landscape by was to whether in terms that adorned the walls of the Minoan villa at perpetually added and recombined, Hagia Triada, or and ico which seems more tuned to female interests. in the of representational modes, themes, motifs. Style Indeed, at Tell el-Dab'a women are nography naturally would still have varied each location, paintings, conspicuously absent, on and also the avail unless one sees the white toreadors as female. depending the requirements of patrons being a One that the above views modern ability and, to degree, the origins of the artists. might object project now to we To this "virtual bank," the main contributors of modes of perceptions, but, turning the husband, find it the Minoans difficult to answer the of where the painting (subjects and styles) would have been particularly question are a man a and artists from the Levant?the latter mainly through the paintings that might have been suitable for of on an medium of small-scale art, such as that encountered seals high position, possibly the pharaoh himself. A possible can swer that of or carved ivories, media that contribute iconographic is that Minoan fresco iconography, especially not a the at was elites themes, but in style suitable for large-scale painting. powerful palace Knossos, being adopted by Crete itself. This frees us of the need to invent the Resident local artists at various places could then partake beyond must a On this we also of and contribute to the process. Egypt be considered presence of Minoan princess. possibility, to but for the need to bear inmind Wiener's sensible about a generally the least receptive foreign elements, question why at nature a ever would have been satisfied with Minoan exception Tell el-Dab'a. The of virtual bank, princess only having a such that it artists the when no other in state of metamorphosis, would have been paint palace, objects representative to of her homeland as seem to would make itnearly impossible for us, now, pinpoint eth (such religious paraphernalia) have her to nic identity beyond recognizing the art's inherent hybridity. accompanied Egypt.19 are There several well-known examples of hybrid internation to al styles that defy ascribing their various examples specific THE DATE OF THE PAINTINGS even the Animal of the places and times: for example, Style to to some extent La A with the Tell el-Dab'a in Early Iron Age from Ireland China and problem dating paintings local/ and terms is that the book under review Tene in central Europe, contemporary with the Classical Egyptian partially ap Bronze the in before serious on the date Hellenistic periods. For the Aegean Late Age, peared print any publication eastern has been and of the associated with the International Style of the Mediterranean composition pottery dumps. most and for the time we need to Bietak's offer the studied, and it remains perplexing.17 Thus, being, accept

19Wiener 1995. 17Rehak and Younger 1998, pis. 25-7; Aruz 2008. 18 Bietak 2007. 2009] A BULL-LEAPING FRESCO FROM THE NILE DELTA 475

that to the earlier of the New theme they belonged part Kingdom. may have been appropriated by Tell el-Dab'a, likely within the same of we must in era of an However, parameter thinking, the Thutmose III. Such appropriation may well also take into consideration Younger's opinion that the Tell correspond to the time of earlier exports of toreador scenes el-Dab'a toreador fresco matches most Knossian tore to one a closely the Mycenaean mainland, including rendered in ador that is datable to LM manner close to the Knossian iconography II/III.20 miniature style, its fragments there be further for under the so-called on Interestingly, may support Younger's found Ramp House the acropolis of date from an direction. For I turn altogether different this, Mycenae.26 to with other themes also found at Tell el When the briefly paintings exactly Mycenaean takeover of the palace at in and in the same as to Dab'a, again fragments dumps the Knossos and Crete took place is still not known, and the reador not some have interested reader can refer to an painting. Though yet fully published, international symposium been illustrated in a number of Bietak's earlier held in the publications 1991, where majority of scholars pointed to LM and commented him and others. involve hunt upon by They II, following the widespread LM IB destructions in Crete.27 scenes on a a ing with dogs leashes, white dog with red collar It is of interest, as we learn from Aston, that Late Helladic a biting into the flanks of fleeing mountain goat, lions and (LH) IIA (Mycenaean) potteryfirst appears inEgypt during fallow and mountain Marina the of leopards chasing deer, goats. joint reign Hatshepsut and Thutmose III, followed by tos and have one of these LH IIB there is the case Morgan already published scenes, imports.28 Next, of the Keftiu paint a a and has raised the with those in the depicting dog pursuing deer; Morgan ings, Tomb of Rekhmire showing, for the of whether some of these themes are "a first men interesting question time, processions of Aegean wearing kilts rather less theme for Cretans than for popular mainlanders."21 than the codpieces shown in earlier tombs. Vercoutter sees These last comments us to Evans' "New the kilt as a as bring Dynasty,"22 sign of the Mycenaeans replacing the Minoans when themes like those mentioned started to at the main visitors to reason just appear Egypt from the Aegean.29 Rehak Knossos destructions in LM IB. The on following widespread ably warned against drawing chronological conclusions Knossian reflect an era of warfare the the costume were as palace paintings (e.g., basis of types, which he argued used the frieze of dated to LM Evans occasion but it seems figure-eight shields, generally II). required,30 significant that the Egyp believed that this was a time when "the Knossian lords trans tian felt to correct painters it necessary the already-painted themselves to theMainland of most worn the men ported side,"23 but, course, codpieces by in the procession by painting scholars now believe instead there had been a takeover that kilts atop them, starting with the Tomb of Rekhmire. The of Knossos the It is to within this not seem by Mycenaeans. general gesture does merely cosmetic: itmust have held that Immerwahr attributes frescoes under some historical for an period grouped importance the Egyptians: defining the subtitle "Later Minoan us era and ethnic costume ex Painting," usefully reminding identity by cannot be entirely which of the frescoes were still on the of the un as an walls palace cluded explanation. til the end.24 include the famous fresco of antithetical To the of at They put presence Minoan/Aegean wall paintings on either side of the we griffins painted throne, which Bietak, Avaris into context, would also need to propose that the as noted used as a model in a above, restoring hypothetical local population may have been a mixed one, with second throne room in F. If the restoration reflects still Building reality, generation Hyksos residing there?some possibly inter this would be another reason to consider the Tell el-Dab'a married with Egyptians?in addition to descendants of other as "later" at least LM such as paintings (i.e., II). foreigners Canaanites. Minoans and other Aegeans LM seems to be the time when started also II/IIIA Mycenaeans could have been present?including the very itinerant to scenes to own on import bull-leaping their palaces the artists who had worked there and who now decided to estab Greek a mainland. Earlier on, itmight have been matter of lish themselves at Avaris rather than return to a still-turbulent international not to etiquette adopt what may have nearly Aegean. From there, it would have been easy for them to been the of the Knossos most travel to the Levant and to royal insignia palace?the Syrian sites, where their expertise establishment in Minoan Crete and the was still in to powerful palatial demand, catering royalty who wanted their pal one where on the aces to be a only bull-leaping depictions appeared painted ? la mode, in Minoan style.31 One note until started walls, Mycenaean power rising.25 By this time, worthy difference between the Keftiu and the Tell el-Dab'a Minoan control of Knossos was I that the instances isworth comment in this weakening. suspect respect. Keftiu paintings and ultimate fall of Knossos also us the rea were used to serve weakening give increasingly Egyptian royal propaganda, son and for a toreador theme at Tell el-Dab'a. Rather first and thus timing by depiction appropriation of Minoan royal than a to a and a Minoan the as being gift pharaoh princess, symbols, such the bull-leaping scenes, and second because

28 20Younger2009. Aston 2007. 21 Marinatos and Morgan 2005,122. 29Vercoutter 1956. 22Evansl935,785. 30Rehakl996. 31 23Evans Rehak a 1935,786. (1996, 47) opted for Minoan enclave in the Le 24Immerwahr 1990, ch. 5. vant, with Minoan artists Tell el-Dab'a from there, but 25 visiting For the of for if we do not have as political importance bull-leaping Knossos, so, any Levantine painting that is close as see and 1995. For the Tell as are ones. Hallager Hallager 1995, 547-55; Younger el-Dab'a paintings Aegean Lack of Mino the earliest known of the theme to the an at either area does not possibly export Myce pottery help with deciding the issue, naean see Shaw 1996. ifwe are mainland, but dealing with foreigners who had made such sites their not a 26Shawl996, pls.A-D. homes, they would necessarily have had chance to 27Driessen and Farnoux 1997. use such pottery in their households. 476 IVIARIAC. SHAW [AJA113

such could have served as elite exotica that DA. "Korn paintings people Aston, 2007. Rabi'a, Ezbet Helmi, and Saqqara NK in Avaris have wanted to see in their 3507: A in In cosmopolitan may pal Study Cross-Dating." The Synchronisation ofCivili or even some aces, in elite houses. Minoan, other Aegean, sations in theEastern Mediterranean in theSecond Millennium B. C. and some Levantine artists have been close III.: Egyptian, may Proceedings of theSCIEM2000-2ndEuroConference, Vienna, and to render such scenes to the 28th by ready please developing ofMay-lst ofJune2003, edited byM. Bietak andE. Czerny, taste the to avant-garde of Egyptian elite. 207-48. Contributions the Chronology of the Eastern Med When this trend started in absolute terms may still be dif iterranean 9. Vienna: ?sterreichische Akademie der Wissen to answer one to ficult with certainty, particularly when has schaften. offer whether ceramic or for M. corresponding dates, absolute, Bietak, 1996. Avaris, Capital of theHyksos: Recent Excavations a. the Bronze Age Aegean and pharaonic Egypt. Using the low at Tell el-Dab London: British Museum. -. Egyptian chronology and traditional Minoan chronology, 2007. "Bronze Age Paintings in the Levant: Chrono Bietak dates the of Thutmose III to (27) reign 1479-1425 logical and Cultural Considerations." In The Synchronisation next B.C.E.,32 matching itwith LM IB, and has the pharaoh, ofCivilisations in theEastern Mediterranean in theSecond Millen from to 1401 B.C.E. the nium B. C. Ill: the Amenhotep II, reigning 1427 Using Proceedings of SCIEM 2000-2nd EuroConfer same the ascension of this to dates, Manning assigns pharaoh ence, Vienna, 28th ofMay-lst ofJune2003, edited byM. Bietak final LM IB his with with and E. to (during co-regency Hatshepsut) ,33 Czerny, 269-300. Contributions the Chronology rest the of his reign continuing into LM II, possibly ending of the Eastern Mediterranean 9. Vienna: ?sterreichische as as start late the of LM IIIA1?the overall LM IB period Akademie der Wissenschaften. was than is with the D. 1994. in und Levante probably longer usually thought, only Collon, "Bull-Leaping Syria." ?gypten ultimate subphase (final LM IB) and perhaps the close of 4:81-5. A. the penultimate subphase (late LM IB) lyingin the earlier Driessen, A, and Farnoux. 1997. La Crete mycenienne: Actes decades of the 15th thus most of de la table ronde internationale century B.C.E., placing organisee par TEcole francaise Thutmose Ill's within the LM II on Crete. reign period dAthenes, 26-28 Mars 1991. BCH Suppl. 30. Athens: Ecole we While the absolute dating is still likely to change, Francaise d'Athenes. know that was for certain the early 18th Dynasty when the Evans, AJ. 1928. The Palace ofMinos at Knossos. Vol. 2, pt. 2. now were Egyptians, cosmopolitan in their tastes, beginning London: Macmillan. to a -. look beyond Egypt. Indeed, there is evidence for such 1935. The Palace ofMinos at Knossos. Vol. 4, pt. 2. Lon taste to as as have already started early the Tomb of Hepzefa don: Macmillan. and at Beni an other Middle Kingdom Egyptian tombs?some Feldman, M.H. 2006. Diplomacy byDesign: Luxury Arts and Hasan, where imitations of Aegean textile patterns appear "International Style" in theAncient Near East, 1400-1200BCE. in as on for the first time Egypt, painted decoration ceilings.34 Chicago: University of Chicago Press. at to The process, that point, and judge by present evidence, Hailager, B.P., and E. Hallager. 1995. "The Knossian Bull: Po to dawn proved be staggered, but Tell el-Dab'a may mark the litical Propaganda inNeo-Palatial Crete." In Politeia: Society of a new era an that gradually adopted international style,35 and State in theBronze Age. Proceedings of the5th International one successors that continued under the of Thutmose III, Aegean Conference/5e Rencontre egeene internationale, University in at evident the palace Malkata of Pharaoh Amenhotep III,36 ofHeidelberg, Arch?ologisches Institut, 10-13 April 1994, edited and in at reaching its peak Akhenaten's palaces Amarna37 by R. Laffineur and W.-D. Niemeier, 547-55. Aegaeum 12. with their uninhibited and artistically gratifying reception Liege: Universite de Liege. of the kind of naturalism generally known to have first de Immerwahr, S. 1990. Aegean Painting in theBronze Age. Univer veloped in the Aegean. sity Park: Pennsylvania State University Press. Kitchen, K.A. 2000. "Regnal and Genealogical Data of Ancient a Egypt: The Historical Chronology of Ancient Egypt, Cur ART DEPARTMENT rent Assessment." In The Synchronisation ofCivilisations in the UNIVERSITY OF TORONTO Eastern Mediterranean in the Second Millennium B.C.: Proceed lOO ST. GEORGE STREET an at ings of International Symposium Schhss Haindorf, 15-17 TORONTO, MS at 3G3 November 1996, and theAustrian Academy, Vienna, 11-12 CANADA May 1998, edited by M. Bietak, 39-52. Contributions to the [email protected] Chronology of the Eastern Mediterranean 1.Vienna: ?ster reichische Akademie der Wissenschaften.

Manning, S.W. 1999. A Test ofTime: The Volcano ofThera and the Works Cited Chronology and History of theAegean and East Mediterranean in theMid Second Millennium B.C. Oxford and Oakville, Conn.: Aruz, J. 2008. Marks ofDistinction: Seals and Cultural Exchange Oxbow Books. -. Between theAegean and theOrient (ca. 2600-1360 B.C.). CMS Forthcoming. "Beyond the Santorini Eruption: Notes von on IB on Beiheft 7. Mainz: Philipp Zabern. Dating the Late Minoan Period Crete, and Impli

32 See also Kitchen 2000. 36Smith 1958,145-72. Nicolakaki-Kentrou (2000,49) cites but a with a Mino 33Manning 1999,493-502; (forthcoming). mostly ceiling paintings includes fragment 34 a Shaw 1970. an-like design of rocky landscape. 35 Feldman 2006. 37Smith 1958,173-206. 2009] A BULL-LEAPING FRESCO FROM THE NILE DELTA 477

cations for Cretan-Egyptian Relations in the 15th Century Hinrichs, 1919. B.C. LM In (and Especially II)." Dating theMinoan Eruption Shaw,J.W., and M.C. Shaw, eds. 2006. Kommos V: The Monu edited D. Warburton. Athens: Danish Insti of Santorini, by mental Minoan Buildings at Kommos. Princeton: Princeton tute at Athens. University Press. and L. 2005. "The Pursuit from M.C. 1970. Marinatos, N., Morgan. Dog Shaw, "Ceiling Patterns from the Tomb of Hep Tell el Dab'a and Kea." In Wall A Tribute to Aegean Painting: zefa."A/A74(l):25-30. Mark edited L. BSA Studies -. Cameron, by Morgan, 119-22. 1995. "Bull Leaping Frescoes at Knossos and Their 13. London: British School at Athens. Influence on the Tell el Dab'a Murals." und Levante ?gypten A. Mekhitarian, 1978. Egyptian Painting. Geneva: Skira. 5:91-120. M. 2000. III and the -. 1996. "The Fresco Nicolakaki-Kentrou, "Amenhotep Aegean: Bull-Leaping from Below the Ramp New Evidence of The Painted Plaster House at A in Intimacy. Fragments Mycenae: Study Iconography and Artistic from Site Kat Malkata." In KpriTn-Aiyvmoq. TIoXitiouikoi Transmission." BSA 91:67-190. edited A. ed. WaU Seafioi rpuov xiXiericov: MeXereg, by Karetsou, Sherratt, S., 2000. The Paintings of Thera: Proceedings of 47-51. Athens: of Culture. theFirst International PetrosM. Ministry Symposium, Nomikos Conference and B. Niemeier. 1998. "Minoan Frescoes in Niemeier, W.-D., Centre, Thera, Hellas, 30 August-4 September 1997. Athens: the Eastern Mediterranean." In The Aegean and theOrient in Thera Foundation. theSecond Millennium: the50th W.S. The Art and Proceedings of Anniversary Sym Smith, 1958. Architecture ofAncient Egypt. Har 18-20 edited E.H. posium, Cincinnati, April 1997, by Cline mondsworth: Penguin Books. and D. 69-97. 18. Universite -. 1965. Interconnections in Harris-Cline, Aegaeum Liege: theAncient Near East: A Study of de the Between Liege. Relationships theArts ofEgypt, theAegean, and Western A. 1958. Le Palais: Peintures murales. Mission ar Asia. New Haven and Parrot, London: Yale University Press. de Mari 2. Paris: Paul Geuthner. 1956. cheologique VercoutterJ. L'Egypteetkmondeegempreh?lleniqiie. Cairo: P. 1996. and the Keftiu Rehak, "Aegean Breechcloths, Kilts, LTnstitut Francais d'Archeologie Orientale. Paintings." AJA 100(1):35-51. Wiener, M., ed. 1995. "Discussions." In Trade, Power and Cul -. 1997. "Interconnections Between the and the tural Aegean Exchange: Hyksos Egypt and theEastern Mediterranean Orient in the Second Millennium B.C." World 1800-1500B.C. An AJA 101(2):399 International Symposium, The Metro 402. Museum 3 politan ofArt, November 1993, edited by M. Bietak, and 1998. "International in Rehak, P., J.G. Younger. Styles 121-32. ?gypten und Levante 5. Vienna: Osterreichischen in the Bronze Ivory Carving Age." In The Aegean and the Akademie der Wissenschaften. Orient in the Second Millennium: the 50th Anni 1995. "Bronze Proceedings of Younger, J.G. Age Representations of Aegean 18-20 edited III." In Politeia: versary Symposium, Cincinnati, April 1997, by Bull-Games, Society and State in theBronze Age. E.H. Cline and D. 229-56. 18. the Harris-Cline, Aegaeum Liege: Proceedings of 5th International Aegean Conference/5e Rencontre Universite de Liege. egeene internationale, University ofHeidelberg Arch?obgisches In H. 1974. Art. Translated and edited 10-13 Sch?fer, Principles ofEgyptian stitut, April1994, edited by R. Laffineur and W.-D. Nie Baines. Oxford: Clarendon Press. 507-45. Universite byj. Originally published meier, Aegaeum 12. Liege: de Liege. as Von besonders der Zeichenkunst: Eine Ein -. ?gyptischer Kunst, 2009. "The Bull-Leaping Scenes from Tell el-Dab'a." die f?hrungin Betrachtung ?gyptischerKunstwerke. Leipzig: J.C. AJA 113(3):479-80.

The Bull-Leaping Scenes from Tell el-Dab'a Taureador Scenes in Tell El-Dab'a (Avaris) and Knossos by Manfred Bietak; Nanno Marinatos; Clairy Palivou; Ann Brysbaert Review by: John G. Younger American Journal of Archaeology, Vol. 113, No. 3 (Jul., 2009), pp. 479-480 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/20627600 . Accessed: 06/10/2013 10:09

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The Bull-Leaping Scenes from Tell el-Dab'a

JOHN G. YOUNGER*

on Taureador Scenes inTell El-Dab'a (Avaris) and pear Late Helladic (LH) HIB kraters. Representations of the schema (all seals the fresco from Knossos, byManfred Bietak,Nanno Marinatos, and floating leaper except and a larnax from date three seals with a contribution Ann Tiryns Tanagra) similarly; ClairyPalivou, by Brysbaert. to should date the end of the Neopalatial period,2 but the 173, b&w and color 138, color 17. to Pp. figs. pis. remaining representations should date LM II and mostly Osterreichischen Akademie der Wissenchaften, to LM IIIA, with the Tiryns fresco and Tanagra larnax dat even to Vienna 2007. 75.80. ISBN 978-3-7001-3780-1 ing later, LH HIB. scenes occur two As noted, the Tell el-Dab'a bull against (cloth). maze. major backgrounds, beige and the Against the beige background (outdoors?), the authors restore three bull a a an This is highly important and wonderful book, replete leaping scenes, bull without leaper, and apparently two men. are with illustrations both in black-and-white and color. Its large recumbent bull with Against the maze, there a scenes. format (ht. 12.25 in., wdth. 14 in.) requires large, horizon four bull-leaping one not a one a tal surface for to open the book up fully; it is vol Immediately, notices few peculiarities in comparison ume to reverence are no no curl up with but rather to unfold with and with Aegean depictions: there assistants; leaper is act scenes ponder with pleasure. Chapter 1 of part 2 (byMarinatos and in the of alighting; all depict only bull and leap on a are Palivou, the toreador frescoes from Knossos) presents er; and the bulls small, certainly not the huge bull (Bos on treat: fresh publications and reconstructions of fragments primigenius}) that appears several gold rings (and their some were or of the miniature frescoes, of which known only impressed sealings) in the Toreador fresco from Knos to not au sos. Cameron but published. In several instances, the The bulls also have thick, glandular heads with stubby our thors correct earlier misidentifications. muzzles, quite unlike Aegean bulls. some about the scenes. a Now, prolegomena bull-leaping Beige 1 (A46/F127) (108) consists of few fragments a a a In series of articles, I put together the three major ways showing black-spotted white bull hide and red-painted restore as a Aegean artists represented bull-leaping.1 Evans had already figure, which the authors bull-leaper landing one not on on reconstructed way of leaping bulls based the To chest down the bull's neck (diving leaper position 2). on reador fresco from Knossos but rather the bronze group This reconstruction is not completely convincing, since the arm said to be from Rethymnon. I called it "Evans' schema": the leaper's is angular and constructed of straight lines. acrobat uses the bull's horns to over the bull's a a flip head, Beige 2 (A42/F5) (105-7) clearlydepicts male leaper in lands feet first on the bull's and off. other over back, jumps Many simplewhite kiltwith blue trimflipping theback of the representations, however, including the Toreador fresco, fall bull (diving leaper position 21/2).Beige 3 (A39/F126+128) into a of the a different way leaping bull, the "diving leaper (105) depicts what should be another leaper against black schema": executes a as the acrobat dives down the bull's neck, spotted white bull, this time reconstructed if falling to on onto our same as handstand the bull's back, and flips off the ground. side of the bull and facing in the direction the Both Evans' schema and the diving leaper schema employ bull. This could be a fallen floating leaper. Beige 4 (A53/ assistants (at the front and rear). A third series represents F148+F149) (109) depicts a bull only, and the recumbent the acrobat above the bull's back, head facing in the same bull scene (Beige 5 [A3/F3+F19+F192] [88-9]) apparently as the out not direction bull, hands reaching toward the bull's does depict bull-leaping. this never I a neck; static composition, varying, call the "float Maze 1 (A6/F48) (89-91) represents blue-spotted white a ing leaper schema." bull with raised head against red background?another The are three schemata roughly distinct, chronologically; fragment of perhaps this bull, of its belly and pizzle, includes to maze representations of Evans' schema date exclusively the Neo part of the pattern. At the bull's horns is something palatial period (MiddleMinoan [MM] Ill-LateMinoan [LM] white with blue bands waving through it. The authors of one a IB). Though representations of the diving leaper schema fer two reconstructions, of white blob above the bull in LM IB from a begin (e.g., sealings Zakros, Hagia Triada, (fig. 59A), the other of white-painted leaper diving down and most date to LM II-IIIA the to Sklavokambos), primarily (e.g., bull's neck (fig. 59B), and this they attribute the frag seals frescoes from two ment a a and Knossos and Mycenae), while ap of white leg trimmed similarly in blue against red

* 2 This review was written to Shaw 2009. CMS 2(4), no. 81; CMS 5, no. 638; CMS 12, no. 284. 1 complement See Younger (1995) forbibliography.

479 AmericanJournal ofArchaeology 113 (2009) 479-80

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to am background (diving leaper position IV2).Maze 2 (A13/F13) major contribution the study of the sport." I flattered, a but that sketch does not (93-5) is the well-known fragment of bull's frontal face with represent the only way bull-leaping on was More are leaper the neck (diving leaper position 1). This leaper depicted. importantly, the Tell el-Dab'a leapers arm to not are has his right around the bull's neck, his hand curled executing Evans' schema, they executing the diving a as not clench the lower edge of it (not clenched in fist, stated leaper schema, which the authors do mention?and I on wears an a hazard a to so page 55). This leaper armband and fat, blue, guess why: do would introduce inconsistencies on a on with the Bietak elliptical sealstone bracelet his right wrist. chronology that is proposing. a the scene Concerning the wearing of Aegean sealstones:3 sole seal Finally, recumbent bull (Beige 5) presents two worn on one men head a ex stone the right wrist is known only from burial flanking the of bull, mouth open, tongue at on The man on Asine (ChT 1) and the "Sitopotnia" in the fresco from tended. the left has only his head preserved, at on far the man on the House with the Fresco in the Cult Center Mycenae; apparently the side of bull. The the right worn on are seems torso sealstones both wrists also known (e.g., the fe slightly elevated; his faces right, but he faces left, same at arms male with the sword from the shrine at Mycenae). Oth looking the bull, his akimbo. The authors reconstruct a wears one on the scene as the man on on near erwise, when figure just seal, it is the leftwrist the left actually the side of the bull on (e.g., the Cup Bearer from Knossos, the robed priest with (head far side), wrestling the bull down by the on a are man on griffin seal from Vapheio) ,4and when seals found horns, and the the right in the air. to were worn It is a in tombs in positions suggest they being by the the extended tongue that compels different inter one are such a in two deceased, all (except for the from Asine) either at pretation: tongue is shown only depictions the left wrist or on the chest (as if on necklaces). that I know of, both seals in Berlin. CMS 11, number 42, a lion a rears The elliptical shape of the seal is also wrong for the Ae portrays attacking stag, who its head, tongue was one gean. The authors suggest it actually rectangular and extended (the seal is of the masterpieces in the My was a worn to meant to represent cushion seal (they illustrate cenae-Vapheio Lion group and should date LB I). The worn no second more a for comparison two highly and humble pieces with seal, CMS 11, number 52, is telling: bull lies at one notes on a table with lathed a a figural iconography) .5Looking closely the seal, legs, palm bending above, sword in its are two curved black lines at the string hole, which the authors in neck, tongue extended.6 Both animals obviously as wear. seems an and the extended us If terpret demarcating It odd that artist would dying, tongue helps tell that. so, it to a worn were be that the man on the left of the bull take pains mark seal; perhaps the curved lines may recumbent is a the the man on meant instead to indicate that the seal had humped back. actually sacrificing bull. What the right is a I do not know. If so, its fat elliptical shape might indicate scarab (and the doing, common blue color itsmaterial, the lapis lazuli). Maze 3 (A21/F165) (97) consists of three fragments a to DEPARTMENT OF CLASSICS of caramel-spotted white bull the right and the single a a 1445 BOULEVARD, WESCOE fragment of yellow leaper's left hand with blue-beaded JAYHAWK IO32 as UNIVERSITY OF KANSAS bracelet at the wrist. The authors restore the leaper hav on over LAWRENCE, KANSAS ing landed the bull's neck and flipping the bull's 66045 back (diving leaper position 2). Maze 4 (A30/F38) (100) [email protected] a assigns yellow-painted head (with shaved temple) against maze a the with blue-spotted white bull moving left. If the assignment is correct (a big "if), the leaper (if such it is) Works Cited a has attempted diving leaper sequence but has fallen head M.C. "A Fresco from the Nile Delta long from the bull. Shaw, 2009. Bull-Leaping scenes and a Search for Patrons and Artists." The Tell el-Dab'a bull-leaping therefore may de AJA 113(3):47l-77. one a 1977. Uses for pict instance of fallen floating leaper (Beige 3), and Younger, J.G. "Non-Sphragistic Minoan-Myce no naean Sealstones and Kadmos 16:141-59. five clear instances of diving leapers. There is example Rings." a -. "Bronze of preserved of leaper executing Evans' schema. 1992. Age Representations Aegean Jewelry." In Eikon: Bronze edited R. Laffineur If the chronology of the schemata is correct, the Tell el Aegean Age Iconography, by are and 8. and Austin: Uni Dab'a frescoes following the schemata that begin late J. Crowley, 257-93. Aegaeum Liege are even more in versite de and of Texas Press. in the Neopalatial period but popular the Liege University -. 1995. "Bronze of Bull following Final Palatial period in Crete and the Early Myce Age Representations Aegean naean on Bronze III." In Politeia: and State in theBronze Pro Empire period the mainland (Late [LB] Games, Society Age. the5th Rencontre II-IIIA). The authors, however, present only Evans' schema ceedings of International Aegean Conference/5e even assert: In (115 [fig. 99]) and "that this sketch represents egeene internationale, University ofHeidelberg, Arch?ologisches of is even 10-13 edited R. Laffineur and W.-D. Nie phases bull-leaping accepted dogma today by J. stitut, April 1994, by more recent is a 507-45. 12. Universite de Younger whose thorough study in years meier, Aegaeum Liege: Liege.

3 6 Similar tables and Younger 1977,146-49; 1992,272-73. support trussed, sacrificed, slaughtered 4 CMS 1, no. 223. bulls (Younger 1995,536-37). 5 CMS 2(3), no. 85; CMS 2(4), no. 205.

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