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Deconstructing a Pendant: Crafting Meaning of an Early Minoan Ornament

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Deconstructing a Pendant: Crafting Meaning of an Early Minoan Ornament A Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Ancient Greek and Roman Studies Dr. Alexandra Ratzlaff, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts by Jennifer Marks May 2020 Copyright by Jennifer Marks © 2020 ABSTRACT Deconstructing a Pendant: Crafting Meaning of an Early Minoan Ornament A thesis presented to the Faculty of the Graduate School of Arts and Sciences of Brandeis University Waltham, Massachusetts By Jennifer Marks In 1914 the Greek archaeologist Stephanos Xanthoudídes began salvage excavations at the tholos tombs in Plátanos, located in the Mesará region of south-central Crete. It was here that according to Xanthoudídes, they found “a finely wrought chain with what seems to have been intended for a pendant flower.” The Plátanos pendant on a chain appears to be unique, a rare find. It is extraordinarily realistic in its three-dimensional design. Why did Minoan craftspeople choose to create this new floral motif for a pendant? What influenced their decision-making process in the design? Ultimately, a piece of jewelry is not only the reflection of the crafter’s handiwork and skill, but it is also a representation of that culture’s customs, beliefs, and values molded and imbued into a tangible material object designed to adorn. In order to craft meaning one has to first deconstruct the parts that make up the pendant in its entirety. An in-depth analysis, including that of metallurgy, comparanda, flora, form, function, and burial practices, helps craft meaning of this ornament. The pendant’s design is a new style in the Minoan jewelry repertoire, a reflection of regional production that coexisted with its use in mortuary ritual. The current gap in the literature of this particular pendant type in Early Minoan gold jewelry leaves the door open for a thorough analysis and proposed interpretations of this exceptional Minoan object. iii Table of Contents Abstract …………………………………………………………………………………………. iv Table of Contents ………………………………………………………………………………… v List of Tables ……………………………………………………………………………………. vi List of Illustrations/Figures ……………………………………………………………………... vii Introduction ……………………………………………………………………………………… 1 Chapter One: Deconstructing a Pendant ………………………………………………………... 14 Context and Assemblage …………………………………………………………………… 14 Physical Description of the Pendant ………………………………………………………… 16 Gold Used in the Pendant’s Fabrication ……………………………………………………. 18 Manufacturing Process of the Pendant ……………………………………………………... 21 The Origins of Metallurgy on Crete ………………………………………………………… 24 Craftspeople and Workshops ……………………………………………………………….. 27 Chapter Two: Comparanda ……………………………………………………………………... 36 Minoan Pre-palatial Ornaments ……………………………………………………………. 37 The Cyclades and Cyprus …………………………………………………………………... 49 The Near East ………………………………………………………………………………. 51 Other Material Culture ……………………………………………………………………... 56 Late Bronze Age Burials …………………………………………………………………… 60 An Analysis of the Comparanda …………………………………………………………… 62 Chapter Three: Crafting Meaning ………………………………………………………………. 70 Motif: The Pendant as a Flower …………………………………………………………… 71 Form and Iconography …………………………………………………………………...... 75 Function …………………………………………………………………………………… 84 Constructing Meaning …………………………………………………….......................... 98 Conclusion …………………………………………………………………………………….. 104 Bibliography …………………………………………………………………………………... 118 iv List of Tables Table 1 Approximate Relative Chronology of Bronze Age Crete (Hamilakis, 2013) ……….. 5, 13 Table 2 Plátanos Pendant Catalogue Information (Hickman, 2008) ……………………….. 16, 35 v List of Illustrations/Figures Figure 1 Map of Crete with Minoan Archaeological Sites (Levine, 2017) ...………………… 1, 11 Figure 2 Final Neolithic and Early Minoan Ceramicware (Mentesana, 2014) …………....... 5, 11 Figure 3 Tholos A, Plátanos (Xanthoudídes, 1924) …………………………………………. 8, 12 Figure 4 Cemetery, Plátanos, MM IA Period (Herrero, 2011) ……………………...………. 14, 31 Figure 5 Plátanos Gold Pendant Illustration (Xanthoudides, 1924) ……………………….. 16, 31 Figure 6 Plátanos Pendant, Herakleion Archaeological Museum (Marks, 2019) ………….. 16, 32 Figure 7 Plátanos Pendant Displayed with Other EM Objects (Marks, 2019) …………….. 17, 32 Figure 8 Crafting Process of the Plátanos Pendant (Hickman, 2008) ……………………… 22, 33 Figure 9 Metallurgical Material Remains (Nerantzis and Papadopoulos, 2013) …………… 25, 34 Figure 10 Chrysokamino Metallurgical Site (van Leuveren, 2019) ………………………… 25, 34 Figure 11 Mochlos Early Minoan Cone-Shaped Pendants (Hickman, 2008) ……………… 38, 65 Figure 12 MET Early Minoan Gold Pendant (Marks, 2019) ……………………………… 40, 65 Figure 13 Gold Diadem with Pendants, Troy (Pushkin State Museum of Fine Arts) ……… 52, 66 Figure 14 Queen Puabi’s Gold Wreath Headdress, Ur (PennMuseum) …………………… 54, 66 Figure 15 Bracelets with Floral Beads, Thebes …………………………………………… 55, 66 Figure 16 Distribution Map of Pre-palatial Tombs in Crete (Costello, 2012) ……………... 41, 67 Figure 17 Blue Bird Fresco, Knossos (Herakleion Archaeological Museum) ……………… 58, 68 Figure 18 Kamares Style Bowl, Phaistos (Herakleion Archaeological Museum) ………….. 59, 68 Figure 19 Agia Triada Sarcophagus (Herakleion Archaeological Museum) ……………….. 60, 68 Figure 20 Late Bronze Age Burial, Sissi …………………………………………………… 61, 69 Figure 21 Griffin Warrior Grave, Pylos ……………………………………………………. 61, 69 vi Figure 22 Early Minoan Gold Crocus Pin, Mochlos (Hickman, 2008) ……………………. 72, 102 Figure 23 Cretan Crocus …………………………………………………………………... 73, 102 Figure 24 Kamares Cup with Crocus Decoration, Knossos (Dewan, 2015) ……………… 73, 102 Figure 25 Conical Rhyton Decorated with Crocus, Palaikastro (Dewan, 2015) ….……….. 73, 102 Figure 26 Saffron Gatherers Fresco, Akrotiri (Dewan, 2015) …………………………….. 73, 103 Figure 27 Faience Dress Models with Crocus Flowers, Knossos (Dewan, 2015) …….…… 73, 103 Figure 28 Underside of Plátanos Pendant with Void (Marks, 2019) ………….………..… 109, 117 Figure 29 Comparison of Gold Pendants (Hickman, 2008) ……………………………… 115, 117 vii Introduction Crete is the fifth largest island in the Mediterranean Sea and it is the southernmost land mass of the entire European continent. Often referred to as the “Megalonissos” (Big Island) by modern day Greeks, the large island covers an extensive area of approximately 8,200 sq. km, about 250 km west to east and 57 km north to south at its widest point in the center (Wilson 2008: 77). Crete’s terrain is rugged, predominantly mountainous with limestone caves, gorges, and cliffs, defining features of the landscape. The interior snow-capped peaks give way to hilly land covered with olive trees, to plains which eventually lead to subtropical shores meeting the Aegean Sea (Fitton 2002: 15). One of the most fertile areas of Crete is the Mesará Plain in south- central Crete. The largest Early Minoan (EM) settlements and later palatial centers of Phaistos and Agia Triada are located at the west end of the plain. Kommos, a nearby coastal site, may have been a primary seaport for this region (Wilson 2008: 78). The natural landscape of Crete significantly influenced Minoan material culture from the very early stages. See Figure 1 for map of Crete with Minoan sites. The Minoan civilization (3100 - 1200 BCE) on Crete was the first major Mediterranean civilization on the island; characterized as a wealthy, literate, city-based culture with a pronounced artistic form. The Minoans were most likely descended from migrants who arrived from Anatolia. Definable aspects of Minoan culture include the creation of a distinctive style of art, religious cults, economic life, and social organization (Abulafia 2011: 22). Crete’s insular geographic location in the Aegean created isolation, yet its proximity and strategic position to the Near East, notably Anatolia and Egypt, allowed for and promoted not only contact and trade, but also the exchange of knowledge and skills. The island became a crossroads for several cultures. Metalworking, for example, was a craft skill introduced by Near Eastern civilizations to the 1 Minoans during the EM Period. Metal crafting techniques were learned through contacts and cultural exchanges with the Near East. Such contacts indicate that the Minoans were active participants in this cultural milieu from an early stage in their cultural development (Preziosi and Hitchcock 1999: 61). The Minoans were open to many cultures, and for this reason, they had artistic freedoms in the creation of their material culture, which unlike Egypt was bound by traditions of style and technique (Abulafia 2011: 23). Little is known about the Minoan culture, and what is known is heavily based on Neo- palatial architecture. The name ‘Minoan’ was given by the archaeologist Sir Arthur Evans, the first excavator of the palace of Knossos, after King Minos, the legendary ruler of Knossos and one of the mythical Greek brothers born to the god Zeus (Preziosi and Hitchcock 1999: 2). Although many archaeologists have excavated at sites throughout Crete since Arthur Evans’s time, there are still significant gaps in our basic knowledge and understanding of the Minoan civilization, as Driessen comments, “Despite 100 years of excavation, Minoan society remains as mysterious for us as it was for Arthur Evans.” Only fairly recently have archaeologists become more critical in their evaluation of Minoan material culture, an important and necessary step needed to better understand the Minoans and the evolution of their culture.
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