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

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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 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. 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.
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