Anemospili Minoan Site Analysis

The great Minoan civilization of Crete formed around palaces such as those at Knossos, Phaestus, Ayia Triada, and Tyliossos. The extremely important Palace of Minos at Knossos gives us crucial evidence of a continuous architectural brilliance and highly developed artistic sense, bringing together all aspects of architectural style, art, and innovation during the Minoan period between 1700 BCE and 1580 BCE and continuing until the invasion of the Achaeans in the 12th century BCE (Britannica Encyclopedia). The most famous palace is the palace of Minos of Knossos which demonstrates a specific arrangement of blocks:

Minoan civilization was advanced for their time and they had many great achievements. As a result of being an island nation, they built a large sea empire based on trade. There were two versions of Minoan writing: An older script called Linear A, which has never been deciphered. Newer than Linear A, but much older than ancient Greek, which it is the earliest form of, was Linear B, which has been deciphered. The center of their empire was a huge palace located in a place called Knossos. Knossos had a working plumbing system. The palace was between 3 and 4 stories tall, which was large for the time. The minoans painted frescoes on walls of the palace and created art on

On the statue may be stains that come from dirt and distort the color. The back and part of headdress is broken so we have no idea what placed on the statue. His headdress has cylindrical shape and has three ropes wrapped around the headdress. This headdress also has a huge round ball attached to the front of headdress, but the ball has a damaged indent so that large piece is missing. Especially watching the middle part of the ball it seems like something were attached, but it looks broken or like somebody carved out the piece. His part of the headdress looks like a staircase shown on either side of statue’s face. The staircase is perpendicular to the arm on both sides. He wear armband that cover his forearm. The statue has a round face and cheeks, big eyes compare to width of face, wide nose, and downturned lip located in center of face like a baby’s face. In addition, the statue eyes open face toward up, so it looks like statue looking at the sky. The sculpture placed his long

The statue, which measures about 11.1 centimeters in length, is now in a muse. It was carved from a fine porous limestone not found in the region and so must have been brought to the area from another location. It must have travelled a great distance before hibernating for centuries.

This statue, located in room thirty-five, shows the goddess Aphrodite preparing to bathe thanks to the help of an adjacent statue and the god Eros while she holds onto a golden apple. This statue, upon comparison to other Greek pieces of art, bares a strong resemblance to two Greek pieces of art. The first is Nike adjusting her sandal, which displays a goddess showing movement while also showing a form of vulnerability. The second is Aphrodite of Knidos, which shows Aphrodite in private preparing to bathe herself. Although the statue of Aphrodite was found in room thirty-five, many speculate that she would have originally been located in a shrine or in the garden.

Could have been a place for burial. Bone fragments were found there more than a century ago. A lot of bone fragments were found representing 63 separate individuals

The temple is actually a cave and the cave is dominated by a massive snake sculpture made of stone in which various other stone sculpture were placed in front of it. Sjöblom explains that these symbols were used to create an emotional response of fear, disgust, or anger because those types of emotions are the easiest to trigger and hardest to let go (Sjöblom, 2008, 282). In conclusion, Sjöblom explains that a great deal of understanding prehistoric narrative and cognitive evolution comes from the examination and attention to symbols that bring about these emotional

The Minoans had an incredible civilization with the oldest large-scale architecture in Europe, and their greatest achievement was the palace complex at Knossos. A unique feature of this sprawling palace was its movable walls, which could be rearranged to create an elaborate network of hallways and rooms.

The ideas espoused by Reinach seem to fall short in his failure to recognize parts of the body found such as the hand or the inscription found by the French buyer as belonging to the statue itself. In part, his argument is that the context that other scholars seem to attribute to the statue and its parts do not necessarily belong together if they are in the same location. These pieces being that of an inscripted piece as well as arms and legs. Reinach cites the idea of a “lime kiln” that would place all of these items together but not related to each other (Kousser 2005, 233). This was refuted with the idea coming from Furtwangler which puts the pieces found in the same context based on the physical analysis of the pieces that seem to indicate a possible relation. Furtwangler also takes the location of these pieces and suggest the ancient context of a gymnasium for this statue. Furtwangler and Maggidis are in the same perspective in that this was all one piece together and this seems to be the perspective that Kousser takes to argue that the Aphrodite figure fits into the context of the gymnasium based on certain

Palace at Knossos is a representation of the Minoan culture. Many square rooms were built for different functions. It has around two or three floors and there are also some rooms underground. Many later architectures can see their features from it. Such as the column on the front gate is similar to the temples from Greek culture architectures. Many paintings were painted on the indoor walls of some rooms. Many of them are narrative and shows some part of he life at that time. It was almost built from stone, which is heavy and steady.

On the porch there are six draped female figures, referred as caryatids, stand on a high parapet, lightly bearing an Ionic entablature. The caryatids served as supporting columns, the porch was built to conceal the beam needed to support the southwest corner. At the Erechtheum they assume the sublime Classical sculptural style. This south porch counter balances the much larger and far open and airy north porch. The entire temple sits on a slope, having one side higher than the other. The maidens are lifted above the main grade of the temple while the north porch sits at a lower point of the sloping hill. The North and West side of the temple sit about a whole level lower than then south and east sides of the temple. The detailing of the building is extremely refined and is carried to the maximum at the north porch, focusing on the columns that support the temple. However, the capitals are considered the most ornate and and exquisite ever

This 25 foot tall tomb is made of marble and bronze. Its structure is held up by columns with beautiful ionic capitals, decorative arches and a vault, lifelike and scenic reliefs, and intricately detailed sculptures. In the center, is the sculpture of William, Prince of Orange, sitting relaxingly, but with his sword held up. His Helmet is off, but on the floor below his feet. At the corners of the tomb, there are figures symbolizing Liberty, Prudence, Religion, and Justice (i.e. holding a scale). Inside the elaborate tomb is Williams Terracotta coffin, where there is a lying figure of William, with a dog at his feet, a symbol of fidelity and faithfulness, as was

For thousands of years, human life is incomplete without sculptures, paintings, and literature. More than 25,000 years ago evidence about culture is described in paintings found in caves and small sculptures. Magical help to hunters was apparently supplied by the sculptures. Sculptures represented gods after the aurora of civilization. Ancient kings made statues of god in a hope of making themselves eternal and have their effigy sculpted, giving rise to profile sculpture.

Leading the way, the docent first described the supersized statue Demon with Bowl which set the tone immediately. Towering three stories high in the center court, the piece commanded attention and created a sense of awe, or as Walter Benjamin describes, an “aura.” Though Benjamin’s “aura” refers to objects that are in their original locations, the theory applies here when looking at the reaction of the viewers’ amazement, as the sheer size creates an aura as if the piece belonged here. Needless to say, the group retained that sense of amazement as the docent described some of the recovered pieces such as statues made of lapis lazuli, figures carved out of rare jade, and objects made of bronze or gold. Without going through each object piece by piece, it is sufficient to say that the group carried on viewing and taking photographs of many of the pieces, as well as the rare coins and artifacts on display.

The Book of the Earth continues on the left wall of the chamber. Here there is a mummified figure that emerges from a huge snake. It represents a water clock, a device that the Egyptians used to measure time. Next to this water clock are twelve small figures that represent the hours. There are scenes of funerary equipment on the lower parts of the chamber’s walls. The pillars in the chamber originally showed Tausert offering to various deities. But just like throughout the rest of the tomb, her figures were replaced by those of Setnakht offering to Horus, Osiris, Anubis, and other deities.