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Akrotiri Thera and the East Mediterranean Table of Contents NANNO MARINATOS AKROTIRI THERA AND THE EAST MEDITERRANEAN Table of Contents Preface 9 The Chronicle of the Discovery of Akrotiri: 1932 to 1974 XX The City and Its History XX West House XX Who was the Owner? XX Emblems and Symbols XX The Voyage of the Fleet at the Ends of the Earth XX Arrival at Akrotiri XX Xeste 3 XX The Great Goddess and the Griffin XX The Spirals of the Third Floor and the Solar Nature of the Goddess XX The Nature of the Great Goddess XX The Painting of the Tree Sanctuary and Egyptian Religion XX Epilogue: A City of Fifty Years XX The Archaeological Site XX Bibliography XX 6 7 8 9 Preface The excavations at Akrotiri, Thera (Santorini) began with Spyridon Marinatos in 1967 and are still in progress under the direction of Professor Christos Doumas. They have gradually revealed an ancient town of significant wealth, the finds of which have exceeded every expectation: almost every season has yielded new surprises. As the thousands of fragments of wall paintings gradually become restored (and this is an on-going process), a new picture book on Minoan life and reli- gion is emerging giving new insights into every-day life, international relations, myths and rituals. I have been studying the frescoes for many decades, but only recently did it become evident to me that Sir Arthur Evans’ early view about the exist- ence of monotheism in the Minoan age was essentially correct. Indeed, Akrotiri yielded evidence not of polytheism, but of one single female Great Goddess. Her presence is either explicit, as in the frescoes of Xeste 3 (discussed in this book), or implicit manifested by her symbols and sacred animals as shown on the frescoes of Room of Lilies, Room of Monkeys, Room of Ladies, Sector A (Porter’s Lodge). In many ways, the persona of this goddess combines the three major Egyptian goddesses of nurture and nature: Nut, Hathor and Isis. All of the latter deities were connected with nature and, what is also important, the sun. Some words now about how I approach the question of the minoanization of Akrotiri and its relation with Egypt. The finds and architecture show that the town was under the direct influence of Knossos after 1550 BCE. It is true that large quantities of Knossian wall paintings have not been adequately preserved and that there is therefore a relative dearth of comparative material. On the other hand, the lack of frescoes iscompensated for in Crete by the existence of magnificently engraved gold rings with scenes of divine epiphanies and tree cult. A seated goddess with her companions and sacred animals features on many gold signets, some of which have been found relatively recently in a cemetery at Poros by Nota Dimopoulou Rethemiotaki (see p. 145). The composition of the scenes on these rings matches the Theran frescoes quite well; consequently, the thesis of the present book is that the religion of Akrotiri cannot be appreciated if it is divorced from Minoan religion. As well, I argue that the designation “Late Cycladic” (which is at present prevalent in the scholarly literature) may be misleading, since ancient geography did not have the same boundaries as modern geography. I have attempted to link Thera with Crete geographically and culturally and have extended the cultural horizon to encompass Egypt. I hope that this approach is historically sound and that it will have payoffs for the understanding of the symbolic codes that underlie the images. Previous pages: View of the archaeological site from above; the Bioclimatic Shelter is visible, fully integrated into its surroundings. (Architect N. Fintikakis, photo: Y. Yiannelos.) 10 11 The association between the Aegean and Egypt is not an entirely novel idea, since it was conceived by the excavator of Knossos, Sir Arthur Evans, and was supported by Spyridon Marinatos. Many scholars today (Peter Warren and Manfred Bietak are some of them) still support the Egyptian connection. I note here that Marinatos even spoke about the presence of Africans in Thera. Egypt was, of course, the dominant culture in the East Mediterranean for almost three thousand years. The strength of its influence depended on the stability of government within Egypt, on the one hand, and the internal unity of Crete, on the other. Thus, when Knossos rose to power at the turn of the third millennium BCE, it was able to develop a unified system of symbols inspired to a great degree by Egyptian ones. When Crete began dominating the Aegean, these symbols were spread to the mainland of Greece as well as to the Cycladic islands. Some of them are discussed in this book: the ankh, the papyrus, the so-called sacral horns, the latter imitating the Egyptian mountains of the horizon. It must be further noted that the peak of Egyptian influence on Crete coincided with periods of strong kingship within Egypt itself, especially the Eighteenth Dynasty during the reign of Hatshepsut and Tuthmosis III. Evans’ early observations raise another important issue, namely the role of royal houses in the formation of religion. Egypt’s Akhenaton in the 14th century (Eighteenth Dynasty) is an example of how one single pharaoh could cause radical changes in the theology and iconography of his people. Chances are that the powerful Eighteenth Egyptian Dynasty influ- enced the royal dynasties at Knossos in 16th century BCE and that Knossos, in its turn, influenced Thera. Some royal correspondence of the second millennium, dating a little later than the destruction of Akrotiri, testifies to the travels of religious objects and ideas. Kings not only communicated with each other but also sealed their alliances and treaties by intermarriage and religion. When the Mitanni king of Anatolia, Tushratta (14th century), sent his daughter as a bride to pharaoh Amen-hotep III, he sent together with her at least one image of the local goddess Shauska. The goddess supposedly said the following: “I wish to go to Egypt, a country that I love, and then return”. In another letter, the male storm god Teshub and the god Aman, were asked to bless king Tushratta with the good fortune of receiving the favor of the pharaoh.1 It is clear that the gods of one country had the power to bless the people of another, as long as the rulers mutually decided that this blessing was desired. We may conclude, then, that religious influences flowed from one royal court to the next. The above mentioned letters provide us with possible models of how Egyptian symbols travelled to the Aegean. In the case of Thera, the Egyptian religious ideas arrived mainly through Crete although other alternatives cannot be excluded. Old lithograph showing the eruption of Santorini in 1866. (Dimitris Tsitouras archive) 1. W. Moran, The Amarna Letters, 1992, p. 48. 12 13 In some ways, the present work, although focusing on Akrotiri, is a continuation of my previous work, Minoan Kingship and the Solar Goddess, where I laid the basis for understanding the com- mon symbols of the East Mediterranean by establishing a visual comparative grid. I by no means implied that we ought to sim- plify complex cultural systems by reducing them into one. But I did (and still do) insist that the Aegean ought not to be isolated from its neighbors. Akrotiri is a special case of a Cycladic port city and it retains some of its original Cycladic character. This fact has been indis- putably shown by the researches of Professor Christos Doumas and his team, as well as by the study of the pottery by Dr. Mariza Marthari. And yet, the fact remains that the last phase of the city, rebuilt after the earthquake of c. 1550 BCE, altered its character and that it subsequently reflected Knossian fashions. Knossos was, at that time, in very close contacts with Eighteenth Dynasty Egypt. The links are historically undeniable. It remains to thank the many people who have contributed to the making of this book. The ruined state of the town is captured by the excellent photographs of Yiannis Yiannelos. The original idea is due to Mrs. Clea Soujoultzoglou, whom I thank very heart- ily. Her enthusiasm and energy helped with the inception of the original Greek version of this book published with the titleAkrotiri, Santorini, the Biography of a lost City. The present work represents an expanded version of the Greek original with an emphasis on religious iconography. The storage room of Sector A. Photo: Y. Yiannelos. 14 15 For the beautiful drawings of the Xeste 3 goddess, I am indebted to Ray Porter, New York; for the digital pictures to Markos Toufeklis. For the copy-editing I am most grateful to my friend and colleague at the University of Illinois at Chicago, Anita Skarpathiotis. For pictures I am most obliged to my friends in Crete, Georgos and Nota Rethemiotaki, Alexandra Karetsou and my equally good friend, the Egyptologist R. H. Wilkinson (University of Arizona). I thank my colleague Kostis Davaras for the Petsofas model; the publishing house Philip von Zab- ern for the Egyptian picture from the tomb of Sennefer. For support and ideas regarding the ear- lier Greek version, I thank Clairy Palyvou and Lefteris Platon. The latter gave me access to his father’s, Nikolaos Platon’s, archives. For gener- ous support for the publication of the volume I am indebted to the Kaspersky Lab. The Athens Archaeological Society and Professor Doumas’ team at Akrotiri have been most generous with pictures. I am grateful to them all. The errors remain mine. Nanno Marinatos, Chicago, Spring 2015 Map of Santorini (Plan del ile de Théra ou Santorin).
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