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    Archaeology, Greece

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    Bouzek -- LH III C Ocinography an Interim Period of Artistic Development in Greece

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    Archaeology, Greece

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    118 views16 pages

    Bouzek - LH III C Ocinography An Interim Period of Artistic Development in Greece

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    Archaeology, Greece

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    XTE®ANOZX APIXTEIOL Archaologische Forschungen zwischen Nil und Istros Festschrift fiir Stefan Hiller zum 65. Geburtstag Herausgegeben von Felix Lang ~ Claus Reinholdt ~ Jorg Weilhartner i Puoisos Vertac, Wien 2007 LH JI1C leonography [An Interim Period of Artistic Development in Greece Jan BouzeK Really significant differences in local styles existed at the beginning and at the end of the development of Mycenaean pottery, while the styles of LH ff A-B were much more unified in a common Kaine, The most interesting, however, is the particular iconography of LH Ill C. New finds show more clearly how much the iconographical expression of LH [IC changed compared to that of the previous periods’, Many motifs and representations apparently express new ideas, even when using old traditional elements of decoration, while other artisans attempted to find another, more adequate expression for new ideas. Some of them had predecessors in Middie Helladic, as STEFAN HiLLER noted in several of his conference papers’; ; they are a kind of parallel to the mythical story of the Return of the Heraclids. Others, however, point to relations with the Levant, while relations with prehistoric Europe can also be traced. Non-Figural Iconography and Innovations The ‘Barbarian Ware’ was probably made to fit the culinary preferences of people coming from outside Greece, Parallels can be seen in Italy and in the western Balkans, This style of pottery started in LH III B and later was transmitted eastward with the Sea Peoples 10 Cyprus and to the Levant, including Palestine. Later cooking pots of the Submycenaean ~ Protogeometric periods in Greece show similar characteristics and apparently developed fram the Barbarian Ware tradition’, Somte new shapes, like FS 240, started in LH M1 BY, while scveral decorative elements, started in LH ILC. Among new features are the bosses on shoulders of closed vases (amphorae and pitchers), apparently showing their sex®. The humanisation of the world in the Greck anthropocentric attitude is a new phenomenon, especially characteristic for later development of the Greek mind, ‘The same quality is afso expressed in changing proportional relations between the body, neck and foot of vases. In the old Minoan-derived tradition the main clement of the vase was the bady, to which minor accessories were attached. In LH II C a new approach started towards the jater concept of amphorae and pitchers. These were now understood as related to human body in their proportions: neck, body and foot became separate parts, their mutual proportions resembling the structure of the human body. In this field LH MLC was « predecessor of later Protogeometric development, when female and male amphorae were distinguished and used for burials of men or of women accordingly. The triglyph-metopoid articulation of horizontal bands of decoration had some earlier tradition in the Mycenacan pottery, but it became especially important in LH II] B2-C styles; LH LI C prepared the basis of the main rhythmical system of later Greek art". ' of FURUMARK 1941; CROUWELL 1991; VERMEULE & KARAGEORGIS 1982; MoUNTIOY 1999, esp, HILLER 1991 2 BoUZEK 1985, 183-7, now also HALLAGER & HALLAGER 2000, 165F. pl. $1, BADRE 2003 with bibliography. * ef, DEGER-IALKOIZY 1982. S Bouzek 1997, 128f, here Wig. 1 * ef. BOUZEK 1997, 56-60. 49 RR Jan BouzEK ‘The duck vases already started in Greece in LH Il] A2, and they showed continuous development until Middle Geometric and later styles (Fig. 2). They were, however, especialy characteristic for LH II, in which they stressed the ‘wooden’ inspiration. Parallel barrel animals are also known from LH Ill C’. Even the latter showed some kind of continuity until Geometric times, but they were especially characteristic for LH {11 C. The triple vases are particularly characteristic for the Protogeometric period, but they had predecessors in LH Wc The Architectural Concepts, Sanctuaries The transition from the palatial megaron to the Early Greek sanctuary is better known than it was a few decades ago. The Mycenaean palace building was the model for the temple in antis, but its wooden construction is alien 10 the local tradition, it derives from the European building techniques known from Britain to the Ukraine, and from Scandinavia to Italy and the Balkans, It is a traditional technique developed in those parts of Europe where there was enqugh timber available and where the construction of posts carrying walls and roof prevailed during the whole prehistory’. The walls were of wattle-and-daub technique, and the roof of plastered reed. The gables left space for decoration. This construction was the model for later Greck temple architecture in stone; it must have been understood by its builders in Greece to de the most proper dwelling for the gods. The main Greek sanctuaries, like Olympia and Delphi, started in LH III C, and show a continuous tradition through the Dark 2 to Archaic Greece, while their predecessors are very modest and/or uncertain". Xoana and New Formulae to Depict Human and Animal Body The LH UIC figurines from Olympia, Phylakopi and elsewhere resemble the wooden ‘statues’ known from the British Isles and Scandinavia''. A tree trunk with remains of cut-off branches, changed into suggestions of legs and arms, was the common saurce of those prehistoric ‘statues’ and of Greek xoana as well, But even the facial details of LBA wooden statues and the carliest Iron Age figurines known to us are strikingly similar. The xoana derive front the same tradition of forest areas as the new temples of gods in Greece; from the tradition in which wood and timber were considered the most proper materials for the human figure and those of gods as well. The carly clay figurines of animals are also very similar 10 those known from prehistoric Europe'?, while the Levantine Reshef figurines, known al: rom the earliest phase of the Phoenician enterprises in the Western Mediterranean, were the models of the Protogeometric figurines of smiting god’. Cypriot and Levantine Lmports, Egypt Perati'*, Tiryns and Lefkandi are the most representative sites for understanding this phenomenon, while Crete was probably even more important. The scarabs, other small 7 Bouzek 1997, 129-31 * Bouzex 1997, 1336, ° MAZARAKIS AINIAN 1997, 124-233; BOUZEK 1997, 64f, " of MAZARAKIS AINiAN 1997, 375-7, "' Bouzex 20008, ef. bere Fig. 3 and Fig. 4 6 " Bouzex 2002, fig, 3. ® SeEDEN 1980; BOUZEK 1985, 69f; 1997, 168; cf. esp. the figurine from Phylakopi. * takawians 1970, 50 LH UE C feonagraphy faience objects, ivory and glass are of Egyptian inspiration, but as far as we know, they were products of the Levantine workshops. Tripods and other bronze vessels are clear evidence that much impact came fiom che east, notably from Cyprus, a country where a large part of the Mycenaean population fled during and after the catastrophes”. In the fictd of iconography and pottery style, there were close contacts as well'. In particular the octopus changed into the ‘Tree of Life’. ‘Tree of Life’ om the menagerie-vases may have had eastern inspiration (Fig, 8. 1-8), which is also reflected in Greek myths, as shown notably by W. BurKERT", but ‘Y

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