This is a list of Minoan, Mycenaean, and related frescos and quasi-frescos (not completed before the plaster dried) found at Bronze Age archaeological sites on islands and in and around the shores of the Aegean Sea and other relevant places in the Eastern Mediterranean region. In cases where one civilization encroaches on another or a mixture of civilizations is present, both names are used. Though culturally rather different, the Wall Paintings of Thera are regarded as part of Minoan art; all types form part of the wider grouping of Aegean art.
These frescos were primarily murals, few of which survived on their walls. Rather, the majority of frescos were reconstructed from flakes of fallen plaster and stucco, especially in those from Knossos and other sites in Crete. Fortunately those from Akrotiri have survived in more complete form. They are often not the originals, but are either facsimiles of originals, or reconstructions including the original fragments, often as little as 5% of the total area, with the rest added in modern times. Careful examination of the photos usually shows which areas are original. Often considerable artistic license has been exercised in the reconstruction. More than one reconstruction may exist, and more than one name has been assigned. The medium in all cases is plaster for interior walls, and stucco for exterior walls. Often exterior frescos were in relief. Frescos can never be dated more precisely than the period in which they were painted. No names of painters have survived from the Bronze Age. Due to the necessity for extensive restoration, individual styles are typically not discernible, except those of the restorers; however, some scholars have assigned a school or painter name to a name fresco. These are not generally accepted.
Thumb | Names | Site | Civilization | Period | Museum | Notes |
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Antelopes Fresco | Akrotiri | Cycladic / Minoan | LC I LM IA | Athens | Outline of two antelopes symmetrically arranged. See: Wall Paintings of Thera | |
Blue Bird Fresco, Frieze, or Panel | Knossos | Minoan | LM IA | Heraklion | A bird, colored blue, beak closed, uncertain species, shown possibly perched or possibly rising on a downstroke, on or from rocks placed in a flower bed including wild roses, lilies of genus Pancratium, vetch, and other flowers. Part of the same band as the Monkeys Fresco in the House of the Frescos; hence, also called the Monkeys and Blue Birds Fresco. | |
Boar-hunt Fresco Wild boar-hunt fresco | Tiryns | Mycenaean | LH IIIB (13th century) | Athens | Three spotted hounds with collars harry a boar in a field of plants while its head is being pierced from in front by a spear held in a hand. | |
Boxers | Tylissos | Minoan | LM IA | Heraklion | Two fragments from one or two miniature frescos duplicating parts of a boxing scene shown on the Boxer Vase from Hagia Triada. A lower body is shown on one, a central body on the other. A kilted male figure in a boxing stance, legs bent, weight on the front leg, rear heel up, displays one arm extended fully with the fist drooping at the end of a snapping motion of the wrist. The Boxer Vase shows a helmeted figure with the off arm pulled back for counterbalance, martial-arts style. | |
Bull-Leaping Fresco, Taureador Fresco | Knossos | Minoan | MM IIIB | Heraklion | Composite scene of acrobatics over a galloping bull. The best of a series of similar scenes, the Taureador Frescos. | |
Cat and Pheasant | Hagia Triada | Minoan | LM I | Heraklion | A cat on the right side of some ivy-covered rocks stalks a pheasant with its back turned on the left. | |
Cat and Pheasant | Knossos | Minoan | LM I | Heraklion | Two fragments, one depicting a spotted Cretan wild cat, with a white patch around the eye, and a second showing the overlapping tail feathers of a pheasant. | |
Charging bull and olive tree relief | Knossos | Minoan | MM IIIB | Heraklion | Half of a bull shown charging to right past a rock toward an olive tree. | |
Crocus Clumps Crocus Panel Crocus Frieze | Knossos | Minoan | LM IA | Heraklion | Band containing a repeated Crocus motif with four red flowers above a waveform double tricolor band: black, blue, white, black, blue, white. | |
Cup-bearer Fresco | Knossos | Minoan | LM I | Heraklion | Part of the Procession Fresco, but not one of the figures proceeding from left to right; i.e., not on the same wall. Kilted males bearing pottery in procession from right to left. Evidence exists for only the figure carrying the conical cup extending from head to midriff, often called a rhyton. | |
Dancing Lady | Knossos | Minoan | LM IB | Heraklion | Non-acrobatic female upper torso and head, open bodice, tresses flying, arms up, probably dancing. | |
Dolphin Fresco | Knossos | Minoan | LM I | Heraklion | A marine scene featuring a school of dolphins composed symmetrically with fish in the interstices and clusters of sponges around the periphery. | |
Fisherman Fresco Fisherboy Fresco | Akrotiri | Cycladic / Minoan | LC I LM IA | Athens | Nude male figure holding two strings of small Mahi Mahi, one in each hand. See: Wall Paintings of Thera | |
Fisherman Fresco Fisherboy Fresco | Akrotiri | Cycladic / Minoan | LC I LM IA | Athens | Nude male figure holding one string of fish with two hands. See: Wall Paintings of Thera | |
Flying Fish Fresco or Panel | Phylakopi | Cycladic / Minoan | Phylakopi III, 1600–1400 LC I, LM IA | Athens | Two rows of flying fish. The top is fish in air with fins extended as wings. The bottom is fish leaving or entering water with fins folded. The interstices are filled with bubbles and spray. | |
Griffin Fresco | Knossos | Minoan or Mycenaean | LM II | In situ | Griffins couchant in a background of rocks and lilies. | |
Ladies in Blue | Knossos | Minoan | MM IIIB | Heraklion | Heads and upper torsos of three women with long tresses, headbands, flounced dresses of open bodice. Blue is the predominant color. | |
Mycenaean Lady | Mycenae | Mycenaean | LH IIIB (13th century) | Athens | Head, torso of female with long tresses, headband, dress with full bodice, wearing necklaces, wristlets, holding up a necklace in the right hand. | |
Myrtle Shoots Myrtle Fresco Myrtle Frieze | Knossos | Minoan | LM IA | Heraklion | Several shoots with myrtle leaves rising from a band representing the ground. | |
Parisienne | Knossos | Minoan | LM III | Heraklion | Fragment from the Camp-Stool Fresco of a woman who seemed to the archaeologists to resemble a late 19th-century Parisian woman. | |
Partridge Fresco or Frieze | Knossos | Minoan | LM IB | Heraklion | Three distinct mural panels. Panel 1: two strutting partridges on the left face third on the right across uneven ground and a hoopoe perched in a bush. A partridge on the far right beyond a knoll flaps its wings, possibly crowing. Panel 2: three flapping partidges systematically arranged on uneven ground containing striated pebbles. Two more perch to the right. Panel 3: four partridges, the center dominated by a pair in chiasmus. | |
Priest-King Relief Fresco, Prince of the Lilies, Feather Prince | Knossos | Minoan | LM I | Heraklion | Procession Fresco figure. Male in a flounced kilt, headdress of uncertain nature, proceeding through a background possibly of lilies, reaching back to grasp possibly a tether. | |
Procession Fresco | Knossos | Minoan | LM I | Heraklion | Equivocal name: 536 original life-size figures in procession on the walls of the Corridor of Processions; 22 surviving figures of the procession; the 22 plus the Priest-king Relief Fresco, the Cup-bearer Fresco, and any and all fragments from the additional corridors leading to the south entrance and in the entrance. The 22 are divided into 3 related groups: A of 7 figures, B of 12 figures, and C of 3 figures. | |
Procession Fresco Group A | Knossos | Minoan | LM I | Heraklion | Figures 1-7 of the procession Fresco. A pairwise procession of ladies with flounced skirts, bodices unknown, long tresses, facing to the right playing musical instruments: two sistra, one double pipe, and a 7-stringed lyre. The front pair raises its arms in the gesture of adulation. | |
Procession Fresco Group B | Knossos | Minoan | LM I | Heraklion | Figures 8-19 of the procession Fresco. Groups of youths approach a central goddess from the right and left. She wears a flounced skirt, open bodice, headdress. Tresses extend to the ground. The head and lower body are in profile. Upper torso frontal. Hands are up, in each two double axes. On the left are 6 kilted males. The 4 nearest the goddess raise arms in adulation. Behind them 2 more bear pots. On the right a pair of kilted males, skirted females, raise arms in adulation. To the far right a kilted male faces the opposite direction. | |
Procession Fresco Group C | Knossos | Minoan | LM I | Heraklion | Figures 20-22 of the procession Fresco. Three kilted youths bearing pottery in procession from left to right. Rocks in background. The weave of the kilts is detailed. | |
Temple Fresco, Grandstand Fresco, Palace feast | Knossos | Minoan | LM I | Heraklion | A miniature fresco showing the facade of the Tripartite Shrine bordering on the Central Court of the palace at Knossos, surrounded by men in a red wash background and some women in an ivory background. Some ladies shown seated. Supporting pillars at sides possibly of a grandstand. The court is walled. |
Aegean civilization is a general term for the Bronze Age civilizations of Greece around the Aegean Sea. There are three distinct but communicating and interacting geographic regions covered by this term: Crete, the Cyclades and the Greek mainland. Crete is associated with the Minoan civilization from the Early Bronze Age. The Cycladic civilization converges with the mainland during the Early Helladic ("Minyan") period and with Crete in the Middle Minoan period. From c. 1450 BC, the Greek Mycenaean civilization spreads to Crete, probably by military conquest. The earlier Aegean farming populations of Neolithic Greece brought agriculture westward into Europe before 5,000 BC.
Fresco is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
Santorini, officially Thira or Thera, is a Greek island in the southern Aegean Sea, about 200 km (120 mi) southeast from its mainland. It is the largest island of a small, circular archipelago formed by the Santorini caldera. It is the southernmost member of the Cyclades group of islands, with an area of approximately 73 km2 (28 sq mi) and a 2021 census population of 15,480. The municipality of Santorini includes the inhabited islands of Santorini and Therasia, as well as the uninhabited islands of Nea Kameni, Palaia Kameni, Aspronisi and Christiana. The total land area is 90.623 km2 (34.990 sq mi). Santorini is part of the Thira regional unit.
The Minoan civilization was a Bronze Age culture which was centered on the island of Crete. Known for its monumental architecture and energetic art, it is often regarded as the first civilization in Europe. The ruins of the Minoan palaces at Knossos and Phaistos are popular tourist attractions.
Knossos is a Bronze Age archaeological site in Crete. The site was a major center of the Minoan civilization and is known for its association with the Greek myth of Theseus and the minotaur. It is located on the outskirts of Heraklion, and remains a popular tourist destination. Knossos is considered by many to be the oldest city in Europe.
Cycladic culture was a Bronze Age culture found throughout the islands of the Cyclades in the Aegean Sea. In chronological terms, it is a relative dating system for artifacts which serves as a roughly contemporary dating system to Helladic chronology and Minoan chronology (Crete) during the same period of time.
Mycenaean Greece was the last phase of the Bronze Age in ancient Greece, spanning the period from approximately 1750 to 1050 BC. It represents the first advanced and distinctively Greek civilization in mainland Greece with its palatial states, urban organization, works of art, and writing system. The Mycenaeans were mainland Greek peoples who were likely stimulated by their contact with insular Minoan Crete and other Mediterranean cultures to develop a more sophisticated sociopolitical culture of their own. The most prominent site was Mycenae, after which the culture of this era is named. Other centers of power that emerged included Pylos, Tiryns, and Midea in the Peloponnese, Orchomenos, Thebes, and Athens in Central Greece, and Iolcos in Thessaly. Mycenaean settlements also appeared in Epirus, Macedonia, on islands in the Aegean Sea, on the south-west coast of Asia Minor, and on Cyprus, while Mycenaean-influenced settlements appeared in the Levant and Italy.
Helladic chronology is a relative dating system used in archaeology and art history. It complements the Minoan chronology scheme devised by Sir Arthur Evans for the categorisation of Bronze Age artefacts from the Minoan civilization within a historical framework. Whereas Minoan chronology is specific to Crete, the cultural and geographical scope of Helladic chronology is confined to mainland Greece during the same timespan. Similarly, a Cycladic chronology system is used for artifacts found in the Aegean islands. Archaeological evidence has shown that, broadly, civilisation developed concurrently across the whole region and so the three schemes complement each other chronologically. They are grouped together as "Aegean" in terms such as Aegean art and, rather more controversially, Aegean civilization.
Aegean art is art that was created in the lands surrounding, and the islands within, the Aegean Sea during the Bronze Age, that is, until the 11th century BC, before Ancient Greek art. Because is it mostly found in the territory of modern Greece, it is sometimes called Greek Bronze Age art, though it includes not just the art of the Mycenaean Greeks, but also that of the Cycladic and Minoan cultures, which converged over time.
The Minoan civilization produced a wide variety of richly decorated Minoan pottery. Its restless sequence of quirky maturing artistic styles reveals something of Minoan patrons' pleasure in novelty while they assist archaeologists in assigning relative dates to the strata of their sites. Pots that contained oils and ointments, exported from 18th century BC Crete, have been found at sites through the Aegean islands and mainland Greece, in Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.
Amnisos, also Amnissos and Amnisus, is the current but unattested name given to a Bronze Age settlement on the north shore of Crete that was used as a port to the palace city of Knossos. It appears in Greek literature and mythology from the earliest times, but its origin is far earlier, in prehistory. The historic settlement belonged to a civilization now called Minoan. Excavations at Amnissos in 1932 uncovered a villa that included the "House of the Lilies", which was named for the lily theme that was depicted in a wall fresco.
Minoan chronology is a framework of dates used to divide the history of the Minoan civilization. Two systems of relative chronology are used for the Minoans. One is based on sequences of pottery styles, while the other is based on the architectural phases of the Minoan palaces. These systems are often used alongside one another.
Akrotiri is the site of a Cycladic Bronze Age settlement on the volcanic Greek island of Santorini (Thera). The name comes from the nearby village of Akrotiri.
Minoan art is the art produced by the Bronze Age Aegean Minoan civilization from about 3000 to 1100 BC, though the most extensive and finest survivals come from approximately 2300 to 1400 BC. It forms part of the wider grouping of Aegean art, and in later periods came for a time to have a dominant influence over Cycladic art. Since wood and textiles have decomposed, the best-preserved surviving examples of Minoan art are its pottery, palace architecture, small sculptures in various materials, jewellery, metal vessels, and intricately-carved seals.
The Prince of the Lilies, or the Lily Prince or Priest-King Fresco, is a celebrated Minoan painting excavated in pieces from the palace of Knossos, capital of the Bronze Age Minoan civilization on the Greek island of Crete. The mostly reconstructed original is now in the Heraklion Archaeological Museum (AMH), with a replica version at the palace which includes flowers in the background.
The Bull-Leaping Fresco is the most completely restored of several stucco panels originally sited on the upper-story portion of the east wall of the Minoan palace at Knossos in Crete. It shows a bull-leaping scene. Although they were frescos, they were painted on stucco relief scenes. They were difficult to produce. The artist had to manage not only the altitude of the panel but also the simultaneous molding and painting of fresh stucco. The panels, therefore, do not represent the formative stages of the technique. In Minoan chronology, their polychrome hues – white, pale red, dark red, blue, black – exclude them from the Early Minoan (EM) and early Middle Minoan (MM) Periods. They are, in other words, instances of the "mature art" created no earlier than MM III. The flakes of the destroyed panels fell to the ground from the upper story during the destruction of the palace, probably by earthquake, in Late Minoan (LM) II. By that time the east stairwell, near which they fell, was disused, being partly ruinous.
Nilotic landscape is any artistic representation of landscapes that emulates or is inspired by the Nile river in Egypt. The term was coined to refer primarily to such landscapes created outside of Egypt, especially in the Aegean Sea, and generally in Roman art, though it is occasionally used to refer to scenes of hunting and fishing in Egyptian art. A nilotic landscape is a river scene with rich and abundant plant and animal life, much of which is native to Egypt. Common iconographic elements include papyrus, palm trees, fish and water birds, and in some cases felines, monkeys, and/or crocodile. Imperial Roman scenes have a larger emphasis on fierce animals, usually including at least one crocodile and hippopotamus.
The wall paintings of ancient Thera are famous frescoes discovered by Spyridon Marinatos at the excavations of Akrotiri on the Greek island of Santorini. They are regarded as part of Minoan art, although the culture of Thera was somewhat different from that of Crete, and the political relationship between the two islands at the time is unclear. They have the advantage of mostly being excavated in a more complete condition, still on their walls, than Minoan paintings from Knossos and other Cretan sites.
The Minoan civilization in the Bronze Age was located on the island of Crete. Focusing on the palatial periods between c. 1900 and c. 1300 b.c.. Art that focuses on just scenes of war alone is impossible as there are many other references that can be made not relating to war at all. There are various meanings that can be interpreted from different perspectives and that is what Molloy wants readers to understand. There could be an overlap of religion, politics, social meanings added to an iconography of warfare. “Practitioners of violence” are called warriors, just an identity who performed their social acts depending on their society. These social acts ranges from bull-leaping, boxing, hunting, sports, combat, fighting and more. Malloy divides the art relating to warfare in Bronze Age Crete into four categories “glyptic art circulating in both social and administrative contexts; stone and ceramic portable art for repeated intimate consumption (dining/processions); coroplastic/bronze figural art for religious activity; and frescoes and relief mouldings fixed in architectural settings”.
The Akrotiri Boxer Fresco, discovered in 1967, is one of the Wall Paintings of Thera and a leading example of Minoan painting. It is a fresco depicting two young boys wearing boxing gloves and belts and dates back to the Bronze Age, 1700 BCE. Around 1600 BCE, a disastrous earthquake, followed by a volcanic eruption, covered Akrotiri, Greece in a thick layer of pumice and ash, which resulted in the remarkable conservation of frescoes, including the Akrotiri Boxer Fresco, from multiple buildings throughout the town. This particular fresco was found in room B1 of Building Beta along with the Antelope Fresco. The boys' shaved heads and stray locks indicate their youth, while their darker skin tone indicates their gender. The boy on the right is completely nude except for a belt, whereas the boy on the left has jewellery; most likely markers of a higher status. They appear to be slightly over life-size at roughly 5 ft 10 in (1.78 m). To create such vibrant frescoes, a smooth lime plaster was applied to the walls and then painted over. It is impossible to know whether the match was a competitive one or simply a routine sport.