Which Aegean culture do these art pieces belong to?

In this post I will be identifying which Aegean culture created the Fisherman fresco and the terracotta Vessel. The Aegean world consisted of three main cultures; Cycladic 2500-1900 BCE, Minoan 2000-1400 BCE, and Mycenaean 1600-1100 BCE.

            The Fisherman fresco resembles the Minoan culture, even though Minoans typically craved humans rather then paint them. Minoans usually painted marine life. One of the reasons I feel that this piece was created by Minoans is that the young man has two locks of youth similar to the Young Girl Gathering Saffron Crocus Flowers (101) who also has a lock of youth. The lock of youth indicating he is merely a child and the blue hair suggesting his hair has grown and he is more man then child. The colors used in the Fisherman fresco remind me of the colors used in other Minoan frescos; rose, blue, and yellow. These colors have been used in the Akrotiri, Thera palace frescos, for example the Spring Landscape (102) uses rose, blue and yellow. The dead fish are painted similarly to the dolphins in the “Flotilla” fresco (89), blue covers the top half of the fish and yellow covers the belly of the fish. The way the young man stands is in composite view with his head, hips and feet in profile and his chest and eye in a frontal view. Although this young fisherman does not have a pinched waste like the figures in the Bull Leaping fresco, the border around the piece is reminiscent of the simple border at the top of the fisherman piece. Another clue that this piece is a Minoan fresco is that the young boy has caught two bundles of fish. Minoan people were very interested in marine life because they lived on Crete and Thera which are islands near the Mediterranean Sea.

            I think the terracotta vessel is most reminiscent of the Mycenaean culture. The shape of vessel is called krater because of its wide-mouth which would be used to mix water and wine. There is a register decorating the vessel, registers are used to narrate a story in art, many ancient cultures used this technique. Within this register is what looks like people. The people depicted are rather unusual looking and look more cartoon like. Mycenaean culture, unlike the Minoan culture, painted humans unrealistically.  Although we can not see the entire krater, there are two figures riding what looks like a chariot pulled by a horse. The narrative is unknown yet there is a militaristic feeling given because of the chariot. The figure to the right of the chariot looks to be a woman holding her arm up which is a sign of power. The way that the vessel is painted strikes a resemblance to the Warriors Vase which also depicts men militaristically (111).

In conclusion these two pieces from the Aegean cultures can only be from one of three cultures, Cycladic, Minoan, or Mycenaean. I think that the Fisherman was a creation from the Minoan culture. I think that the terracotta krater was a creation from the Mycenaean culture.

Ziggurat vs Pyramids of Gizeh

In ancient times many monumental structures were created. The Sumerians, in the ancient Near East built Ziggurats around 2100 BCE. The Great Pyramids were created by the Egyptians for their pharaohs during the fourth Dynasty, 2601 to 2515 BCE. When one comparing the Ziggurats to the Great Pyramids the underlying structures are similar.

Ziggurats are flat multi platform pyramid structures, made from countless mud-bricks, with a temple or shrine on the highest platform. In Gizeh there are three pyramids built for the fourth Dynasty kings, Menkaura, Khafra and Khufu. The Great Pyramids are similar being that their base is Ziggurat like. The Pyramids are constructed with a square base with four sloping triangular faces made from limestone blocks. The largest pyramid, built for the Pharaoh Khufu, covers thirteen acres and is four hundred fifty feet tall. The only example of a Ziggurat that still exists today is the Nanna Ziggurat at Ur, built for the moon god, has a rectangular base, one hundred ninety by one hundred thirty feet. Some Ziggurat interiors had elaborate clay mosaics created by pressing fired cones into wet plaster. Many of the Ziggurats were built from previous Ziggurat structures that were destroyed, some times using the same bricks to rebuild the structure. The Ziggurats were solid brick structures. When the Great Pyramids were built they were cased in polished white limestone. After many years the casing stones were ruined and fell from the pyramids. The Pyramids were built with interior chambers. The chambers serve as burial tombs holding the Pharaoh’s sarcophagus. The three Pyramids at Gizeh are aligned in the sun’s east to west path.  The base of both the Ziggurat at Ur and the Great Pyramids are aligned to the points of the compass.

The Ziggurats and the great pyramids at Gizeh were created for different religious reasons. The Ziggurats in the Near East symbolized bridges between earth and the heavens for humans to meet their protective gods. This is said because the Ziggurats are mountain like structures with long ramps leading to the entrance. The pyramids at Gizeh symbolize the deceased pharaohs climbing up the rays, slopped sides of the pyramids, to join the sun god Ra. The purpose for the Ziggurats was to proclaim prosperity, reputation and stability of its city rulers and to glorify their gods. The Great Pyramids were created as funerary structures, monuments for the afterlife. The pyramids purpose was to give the king’s Ka, soul, a suitable resting place. The Egyptians believed that the deceased king affects the well-being of the state. The Ziggurats were raised temples for the people to praise the gods. Comparatively, the pyramid and the ziggurat are similar because they both serve as a connection between humans and the divine.

The Ziggurats and the Great Pyramids at Gizeh are engineering and architectural marvels. There are similarities of the structures themselves, such as proportions and alignments. Over all the Ziggurats were built for the people and the Great Pyramids were built for the deceased Pharaohs.

Lamassu

            The ancient near eastern ruler Ashurnasirpal II, 883-859 BCE, embarked on expansion, conquering and enslaving. The enslaved captives built a new capital in Nimrud. The new capital covered an area of about nine hundred acres. His palace in Nimrud had intricate art throughout the palace walls.  Among the art created was Human-Headed Winged Lion, Lamassu, double the size of a person this creature appears strong, protective and wealthy.

            Lamassu, stands over ten feet tall, has the body of a lion, wings of an eagle and the head of a man. I think that Lamassu was created with elements of different creatures to produce an all together strong and fearful beast. The beast has the body of a lion, muscular, and athletic. The sculpture emphasizes robust muscle with line in the leg area. This creature expels a very dangerous vibe with very large clawed feet. This intimidating sculpture created as a relief, from Alabaster makes you want to move around him. In the frontal view you see standing in front of you a man’s head on a lion’s body. Viewing the beast from the side, you see a creature striding in motion. If you see the beast at the right angle it can be seen that it actually has five legs. Lamassu has a fifth leg to possibly appear immobile to enemies. I think the creator included the fifth leg because if the creature was viewed from the side it would only have three legs and this is unsatisfying. The Lamassu has the wings of an eagle, majestic and sturdy. The wing span is very large and detailed on the Human-Headed Winged Lion. This beast also has the head of a man. Giving the creature the head of man gives the creature complex thought, making him a smart defender.

            Ashurnasirpal II once an almighty king needed a frightening protector. Lamassu stood at the entrances of the palace and throne rooms. The statue is built into the palace signifying that the beast is stable and strong like the palace and the king. The way the Human-Headed Winged Lion stands territorial giving off an overwhelming intimidating feeling. The eyes on the beast are open wide as if he is very alert. His stance from the front is quite strong and looks as if he is ready to pounce on an intruder. Viewing the beast you have a feeling that this beast strides back and forth repeatedly to protect his King.

The king’s guardian, Lamassu, stands very lavishly.  Some parts of this beast are very stylized; the way there is perfectly tight curls throughout his beard and hair. The beast is wearing earrings and a luxurious looking hat. Lamassu is also wearing a detailed belt. Even the wings of an eagle are stylized. By sculpting Lamassu in this wealthy way reflected on the kings to say they too are wealthy.  I think that the Lamassu was created to show power and dominance of the Kings.

Human-Headed Winged Lion, Lamassu the guardian stands strong proudly at gate and throne entrances. The contribution of the man’s head, the eagle’s wings, and the lions body create an all together fierce, authoritative beast. As a result of the creator sculpting the Lamassu this way he sends a message that he protects the king. This brute of a statue represents the wealth, power, dominance, and strength of the king, Ashurnasirpal II.