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Ancient Ceramic Mini Decorative Table Vase – Minoan pottery has been used as a tool to date the Silent Minoan civilization. Its continuous sequence of unusual mature artistic styles, while helping archaeologists to determine the relative dates of the layers of the site, reveals some of the novelties of the pleasures of Minoan patrons. Urns with oil and ointments exported from Crete in the 18th century BC have been found in various parts of the Aegean islands, mainland Greece, Cyprus, the Syrian coast and Egypt, and the Minoans used them as a place of trade.

Pottery consists of vessels of various shapes and, like other types of ancient Greek pottery, are collectively called “vases” or “terracotta”, small pottery figurines, building models and other types. Some works, notably rhyton cups, overlap the two categories, both vessels for liquids but essentially sculptural objects. Some pottery forms, especially rhyton cups, were also made from softer stones such as steatite, but there was little overlap with metal vessels. Pottery sarcophagus chests were also made for cremated ashes, as is the case now in Hanover.

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The crowning achievement came in the late Minoan period, the palace pottery called Kamares pottery, the “marine style” and the “floral style” which were sampled throughout the late Minoan period. These are widely exported around and sometimes beyond the Aegean civilization and are the pinnacle of the Minoan pottery tradition.

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The best and most extensive collection is at the Archaeological Museum of Heraklion (AMH) in Crete (where most of the works are exhibited).

The traditional chronology for dating the Minoan civilization was developed by Sir Arthur Evans in the early 20th century AD. His terms and those proposed by Nicholas Plato are still in common use today and appear in this article. See Minoan chronology for more information.

Evans categorized ceramics according to their differences in form and decorative style. Plato focused on the history of the Knossos episode. A new method, fabric analysis, performs geological analysis of coarse, largely undecorated fragments, such as rocks. The resulting classification is based on the configuration of the fragments.

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Little is known about how the pottery was made, but it may have been small workshops gathered in settlements near good sources of potter’s clay. For many, pottery may be a seasonal activity combined with farming, but the scale and sophistication of later pottery suggests a full-time, two-class professional workshop. One corresponds to the palace.

There is some evidence that there were also women potters. Archaeologists seeking to understand production conditions have drawn comparisons between contemporary Cretan rural artisans and aspects of the two better-documented industries of Bronze Age Egypt and Mesopotamia.

Technically, slips were widely used and their various effects were well understood. Although the potter’s spindle appears to be available from MM1B, other “handmade” methods of body shaping, which were necessary for sculpturally shaped objects, continued to be used.

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No ceramic glaze was used and none of the products were fired at very high temperatures, leaving either earthenware or terracotta. All these characteristics apply to later Greek pottery throughout its great period. High-end products often have cases with very thin walls. Excavations of the abandoned LM furnace at Kommos (Phaistos port), together with its “scraps” (misshaped pots), allow a better understanding of the details of its production.

This is a brief introduction to the subject of Early Minoan pottery, focusing on some of the more familiar styles. They should not be considered comprehensive. We know different forms. The period is generally characterized by a large number of local wares, often with Cycladic counterparts or imported wares, and a checkered pattern originating from various parts of the Eastern Aegean or beyond, indicating a population of ethnic origin. The evidence is certainly open to interpretation and inconclusive.

It suggests that the Minoan civilization developed in situ and was not imported from the East. Another major feature is the variety from location to location, which indicates the localism of early Minoan social traditions.

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There, the Late Neolithic had affinities with the Cyclades, where FN and EMI settlements coexisted, with EMI gradually replacing FN. Of the three options, no immigration, complete replacement of native peoples with immigrants, immigrants settling among native peoples, Hutchinson

“The Neolithic in Crete was not a disaster. Its culture fell into the Bronze Age under the pressure of the infiltration of relatively small groups of immigrants from the south and east, where copper and bronze had long been used.”

It is also called “polished ceramic”. The main form was the “goblet” or spirit goblet, which, combined with a funnel-shaped stand, allowed the cup to rest on a hard surface without spilling. Some assume that it was used for ritual purposes]. This type of pottery is black, gray or brown, shiny and engraved with a kind of linear pattern. Perhaps it resembled a tree.

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Another type of EM I, incised ware, also known as incised ware, was a hand-formed dark luster jug ​​with a round bottom (example) and spherical cups and glasses (“pixies”). Popular decorations were vertical, horizontal or herringbone patterns. These pots are from northern and northeastern Crete and appear to be post-Camposian period of the early Cycladic I Grotta Peros culture. Some suggest importation or immigration. See also Hagia Photia.

The painted parallel line decoration of Ayios Onouphria I. Ware burns red under pure oxidizing conditions in the kiln, but darkens under smoky fire-reducing conditions without much control over the iron red color. Painted with clay coating. It varies from red to brown. A dark to light color pattern was used.

From the very beginning, Minoan potters focused on creating linear forms, perfecting coherent shapes and voids that ideally fit the shape of the pottery. The shapes were jugs, two-handled cups and bowls. This pottery comes from north and south-central Crete and, like the Leva pottery of the same type, is decorated by painting white patterns on a red-painted background (example). The latter came from the grave of EM I.

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At EM IIA, the geometric designs of the sliding colors of Komasa ware appear to have evolved from the work of Agios Onofrios. The design is red or black on a light background. Shapes include cups, bowls, jugs and teapots (eg “Goddess Myrtle”). Also from EM IIA are cylindrical and spherical pyxids, called fine grayware or simply grayware, which have a polished surface with engraved diagonals, dots, rings and semicircles.

It has a mottled glaze effect and is an early attempt at color control, but the elongated spout drawn from the body and the semicircular recesses of the spout mark the beginning of the Minoan tradition of elegance (Example 1). , example 2). The spotting was caused by unfired pots covered with leaves, with the hottest spots darkened. The mottled stone cups had a similar effect.

In the last short transition (EM III), East Cretan pottery begins to be covered with dark foliation and decorated with light lines and spirals. The first checkered motif appears. The first loops and petal-shaped leaf bands appear in Gournia (Walberg 1986). Rosettes may appear and spiral links may join bands. These motifs are similar to those on seals. In north-central Crete, where Knossos appears, there is little resemblance. A goblet with legs appears (example).

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“These great palaces were the central features of a fairly large city…apparently they were also the administrative and religious centers of the self-sufficient regions of the island.”

The rise of the palatial culture of the “old palaces” at Knossos and Phaistos and the new types of urbanized and centralized societies with redistribution centers involved more storage vessels and more precisely different functions. Adaptation was required. In the palace workshops, standardization suggested a more directed operation and the rise of elite products emphasizing sophistication and novelty, so that palatial and provincial ceramics would be differentiated.

The design of the best products was designed for the table and service. In the palace workshops, the MMIB pottery spindle was introduced from the Levant for the rapid throwing of perfectly symmetrical objects from spinning clay. is ready.

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The well-controlled iron red slip added to the color repertoire during the MMI could only be achieved in an insulated closed furnace without oxygen and smoke.

“Medallion pitoi” or preservation vessel in the palace at Knossos. Named after the raised discs, they are MM III/LM IA.

Every populated center needs spaces to support human needs, and this also applies to palaces. Knossos had an extensive sanitary, water and drainage system.

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This means that it is not a ritual labyrinth or a large tomb. Liquid and granular supplies were stored in pitots like magazines and warehouses. Pithoi appear first just before the beginning of the MMI, followed by the Late Minoan and becoming very rare by the LMIII (Example 1, Example 2). about 400 pitots

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