The Minoan wall paintings at Tell El-Dab'a are of particular interest to Egyptologists and archaeologists. They are of Minoan style, content, and technology, but there is uncertainty over the ethnic identity of the artists. The paintings depict images of bull-leaping, bull-grappling, griffins, and hunts. They were discovered by a team of archaeologists led by Manfred Bietak, in the palace district of the Thutmosid period at Tell el-Dab'a. The frescoes date to the Eighteenth dynasty of Egypt, most likely during the reigns of either the pharaohsHatshepsut (reigned c. 1479 – 1458 BCE) or Thutmose III (reigned 1479 – 1425 BCE), after being previously considered to belong to the late Second Intermediate Period. The paintings indicate an involvement of Egypt in international relations and cultural exchanges with the Eastern Mediterranean either through marriage or exchange of gifts.
The palace district of the Thutmosid period covers a part of the same ground that the palace district of the Hyksos period, however Thutmosid palace has a different orientation.[1] The most prominent elements are two palatial structures, (F) which is smaller and (G) which is bigger.[1] There was much pottery discovered in structure F that has been dated to the pharaohThutmose III. This has greatly aided archaeologists in dating the palace districts and the paintings. Also, two-thirds of the painting fragments have been found around palatial structure F, while a number of fragments were found at the base of a ramp of palatial structure G.[1]
Paintings
The frescoes were found in the precinct of the Thutmosid palace at Tell el-Dab'a in thousands of fragments on lime plaster. The paintings have been partially reconstructed to reveal bull-leaping and bull-grappling scenes, some against a maze pattern, and felines chasing ungulates. There are also hunting scenes, life sized figures, men with staffs, and a white female wearing a skirt, as well as griffins.[2] The paintings can date to the early phase of the palaces. One group of paintings was found fallen off the wall of a doorway, and the other group of fragments was found in dumps deposited by the north-east palace.[3] They seem to have been applied to the walls during the early part of Thutmose III's reign, and removed during the later Thutmosid period.[1] There is a long frieze of bull-leaping and bull-grappling against a maze pattern.[1] Especially important are the emblems of the Minoan palace such as the half rosette frieze and the presence of big griffins which are the same size as the ones in the throne room at Knossos on Crete, and the technique of the paintings are typically Aegean.[1] The paintings are made with a basic coating of two or three layers of lime plaster, the surface is polished with a stone float, and then the paintings are made with a combination of fresco and stucco.[4] The style of painting is very high quality, and compares with some of the best paintings from Crete.
Dating
It was primarily believed that the paintings belonged to the late Hyksos period of rule over Avaris, or to the early period of the 18th dynasty. Manfred Bietak originally dated the paintings to the Hyksos period in his book Avaris: The Capital of the Hyksos. However, with the continuation of excavations, evidence has pointed to the paintings originating in the early reign of Thutmose III during the time of the 18th dynasty. With the excavation of one of the 18th-century palaces, there appeared many scarabs with the names of early 18th dynasty pharaohs.[3] However, as some of the fragments of the paintings were discovered in areas older than the palace, Bietak explains that it was only logical to assume that the paintings were of older origin as well, from before the 18th dynasty. However, a problem arose since the palatial structure cut into the Hyksos enclosure wall.[3] Due to this evidence, the finding of more frescoes at a section of the excavation that belonged to the 18th dynasty, and the evaluation of pottery which was dated to the 18th dynasty, Bietak changed his mind and he dated the compound to the Thutmosid period.[3]
How Minoan are the paintings
Fragment of a bull-leaper, from Tell el-Daba
There is debate on the ethnicity of the artists. Some, including Bietak, claim that the paintings were painted by Minoan artists, while others, like Cline, argue that this cannot be proven and that it may be that the artists just had a deep knowledge of Aegean art. Cline doubts the change in dating by Bietak, and Bietak's argument that the artists were Minoan. Cline says that the “Daba frescoes may simply be an indication that Hyksos artists also adopted aspects of other cultures,” and therefore believes that the artists were not Minoan.[5] However, according to Bietak, the techniques used and the style and motifs employed leave no doubt that the artists were Minoan.[2] The technique of using lime plaster in two layers with a highly polished surface, fresco in combination with stucco, all are techniques that are not Egyptian but are first seen in Minoan paintings. Also, the colors used by the artists are cleary Minoan. For example, using blue instead of grey is Minoan, with that color convention being seen in Egypt later, and due to Aegean influences.[3] Together with this evidence, Egyptian hieroglyphs and emblems are not present among any of the fragments discovered. The composition of the paintings, which included mountainous scenery, and motifs, also fit in perfectly with those of the Aegean world.[3] Thus the overwhelming evidence seems to point in the direction of Minoan artists having been at work in Avaris.
Importance
Much has been said about the importance of the paintings and their origin. The question of why these paintings appear in the Thutmosid palaces is a perplexing question for archaeologists and Egyptologists. According to Bietak, the use of specific Minoan royal motifs in a palace in Tell el-Dab'a indicates "an encounter on the highest level must have taken place between the courts of Knossos and Egypt."[2] Manfred Bietak offers us one hypothesis. He points to the presence of Minoan royal emblems, the full scale griffins, and the large representation of the female in the skirt might suggest a political marriage between Thutmose III and a Minoan princess.[6] The paintings are unique. They are one of a kind, and they compare with artwork from Knossos. Nanno Marinatos has made the case that the rosette motif, which is a prominent feature of the Taureador paintings, reproduces the Knossian rosettes and that it is a distinct Minoan symbol. In regards to Egypt, the paintings reveal an international era of cultural interaction between Egypt and the eastern Mediterranean. They also point to Tell el-Dab'a as a place where these cultural exchanges took place, meaning the city was incredibly important to Egypt.[2][7] Marinatos has additionally argued that the Tell el Dab'a paintings are evidence of a koine, a visual language of common symbols, which testifies to interactions among the rulers of neighboring powers. The marriage of a Minoan princess to an Egyptian pharaoh may be one possible scenario but there are other ones. Minoan Knossian authority was involved in Egyptian affairs possibly because Crete had a strong naval force to offer the pharaoh.
1 2 3 4 Bietak, Manfred, “Minoan Artists at the Court of Avaris” in, Beyond Babylon: art, trade, and diplomacy in the second millennium B.C. / edited by Joan Aruz, Kim Benzel, and Jean M. Evans. New York: Metropolitan Museum of Art; New Haven: Yale University Press, c2008.
1 2 3 4 5 6 Manfred Bietak, “Rich beyond the Dreams of Avaris: Tell el-Dabʿa and the Aegean World: A Guide for the Perplexed': A Response to Eric H. Cline. The Annual of the British School at Athens, vol. 95, (2000), pp. 185-205 Published by: British School at Athens
↑ Bietak, Manfred. 1996. Avaris: The Capital of the Hyksos. British Museum Press: London
↑ Eric H. Cline, “Rich beyond the Dreams of Avaris: Tell El-DabʿA and the Aegean World: A Guide for the Perplexed” in, The Annual of the British School at Athens, vol. 93, (1998), pp. 199-219
↑ M. Bietak, N. Marinatos, C. Palyvou, Taureador Scenes in Tell el Dab'a and Knossos,Vienna 2007,145-150. See also Bietak, "The Palatial Precinct at the Nile Branch." Avaris, Tell El-Daba, 2008.
↑ Nanno Marinatos, "Lions from Tell el Dab'a", Egypt and the Levant 20, 2010, pp. 325-356; eadem, Minoan Kingship and the Solar Goddess. University of Illinois Press 2010
Related Research Articles
The Minoan civilization was a Bronze Age Aegean civilization on the island of Crete and other Aegean Islands, whose earliest beginnings were from c. 3500 BC, with the complex urban civilization beginning around 2000 BC, and then declining from c. 1450 BC until it ended around 1100 BC, during the early Greek Dark Ages. It represents the first advanced civilization in Europe, leaving behind a number of massive building complexes, sophisticated art, and writing systems. Its economy benefited from a network of trade around much of the Mediterranean.
Ahmose I was a pharaoh and founder of the Eighteenth Dynasty of Egypt, classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. He was a member of the Theban royal house, the son of pharaoh Seqenenre Tao and brother of the last pharaoh of the Seventeenth dynasty, Kamose. During the reign of his father or grandfather, Thebes rebelled against the Hyksos, the rulers of Lower Egypt. When he was seven years old, his father was killed, and he was about ten when his brother died of unknown causes after reigning only three years. Ahmose I assumed the throne after the death of his brother, and upon coronation became known as nb-pḥtj-rꜥ "The Lord of Strength is Ra".
Hyksos is a term which, in modern Egyptology, designates the kings of the Fifteenth Dynasty of Egypt. The seat of power of these kings was the city of Avaris in the Nile delta, from where they ruled over Lower and Middle Egypt up to Cusae. In the Aegyptiaca, a history of Egypt written by the Greco-Egyptian priest and historian Manetho in the 3rd century BC, the term Hyksos is used ethnically to designate people of probable West Semitic, Levantine origin. While Manetho portrayed the Hyksos as invaders and oppressors, this interpretation is questioned in modern Egyptology. Instead, Hyksos rule might have been preceded by groups of Canaanite peoples who gradually settled in the Nile delta from the end of the Twelfth Dynasty onwards and who may have seceded from the crumbling and unstable Egyptian control at some point during the Thirteenth Dynasty.
Manfred Bietak is an Austrian archaeologist. He is professor emeritus of Egyptology at the University of Vienna, working as the Principal investigator for an ERC Advanced Grant Project “The Hyksos Enigma” and Editor in Chief of the Journal “Egypt and the Levant” and of four series of the Austrian Academy of Sciences, Institute of Oriental and European Archaeology (2016–2020).
Avaris was the Hyksos capital of Egypt located at the modern site of Tell el-Dab'a in the northeastern region of the Nile Delta. As the main course of the Nile migrated eastward, its position at the hub of Egypt's delta emporia made it a major capital suitable for trade. It was occupied from about the 18th century BC until its capture by Ahmose I.
Bull-leaping is a term for various types of non-violent bull fighting. Some are based on an ancient ritual from the Minoan civilization involving an acrobat leaping over the back of a charging bull. As a sport it survives in modern France, usually with cows rather than bulls, as course landaise; in Spain, with bulls, as recortes and in Tamil Nadu, India with bulls as Jallikattu.
Sharuhen was an ancient town in the Negev Desert or perhaps in Gaza. Following the expulsion of the Hyksos from Egypt in the second half of the 16th century BCE, they fled to Sharuhen and fortified it. The armies of Pharaoh Ahmose I seized and razed the town after a three-year siege.
Pi-Ramesses was the new capital built by the Nineteenth Dynasty Pharaoh Ramesses II at Qantir, near the old site of Avaris. The city had served as a summer palace under Seti I, and may have been founded by Ramesses I while he served under Horemheb.
Labib Habachi was an influential Coptic Egyptian Egyptologist.
Seuserenre Khyan was an Hyksos king of the Fifteenth Dynasty of Egypt, ruling over Lower Egypt in the second half of the 17th century BCE. His royal name Seuserenre translates as "The one whom Re has caused to be strong." Khyan bears the titles of an Egyptian king, but also the title ruler of the foreign land (heqa-khaset). The later title is the typical designation of the Hyksos rulers.
Sakir-Har was an Hyksos king of the Fifteenth Dynasty of Egypt, ruling over some part of Lower Egypt during the Second Intermediate Period, possibly in the early 16th century BC. Sakir-Har is attested by a single inscription on a doorjamb excavated at Tell el-Dab'a—ancient Avaris—by Manfred Bietak in the 1990s. The doorjamb, now in Cairo under the catalog number Cairo TD-8316, bears his partial royal titulary in the manner of the Ancient Egyptian, showing his Nebti and Golden Falcon names, as well as his nomen. The doorjamb reads
[Horus who... ...], The possessor of the Wadjet and Nekhbet diadems who subdues the bow people. The Golden Falcon who establishes his boundary. The heka-khawaset, Sakir-Har.
Minoan religion was the religion of the Bronze Age Minoan civilization of Crete. In the absence of readable texts from most of the period, modern scholars have reconstructed it almost totally on the basis of archaeological evidence of such as Minoan paintings, statuettes, vessels for rituals and seals and rings. Minoan religion is considered to have been closely related to Near Eastern ancient religions, and its central deity is generally agreed to have been a goddess, although a number of deities are now generally thought to have been worshipped. Prominent Minoan sacred symbols include the bull and the horns of consecration, the labrys double-headed axe, and possibly the serpent.
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.
Tell el-Dab'a is an archaeological site in the Nile Delta region of Egypt where Avaris, the capital city of the Hyksos, once stood. Avaris was occupied by Asiatics from the end of the 12th through the 13th Dynasty. The site is known primarily for its Minoan frescoes.
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, as it has come to be called, is the most completely restored of several stucco panels originally sited on the upper-story portion of the east wall of the 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.
Nehesy Aasehre (Nehesi) was a ruler of Lower Egypt during the fragmented Second Intermediate Period. He is placed by most scholars into the early 14th Dynasty, as either the second or the sixth pharaoh of this dynasty. As such he is considered to have reigned for a short time c. 1705 BC and would have ruled from Avaris over the eastern Nile Delta. Recent evidence makes it possible that a second person with this name, a son of a Hyksos king, lived at a slightly later time during the late 15th Dynasty c. 1580 BC. It is possible that most of the artefacts attributed to the king Nehesy mentioned in the Turin canon, in fact belong to this Hyksos prince.
Elba Perla Fuscaldo is an Argentinian Egyptologist, specialist in the ceramics of Ancient Egypt.
Yanassi was a Hyksos prince, and possibly king, of the Fifteenth Dynasty. He was the eldest son of the pharaoh Khyan, and possibly the crown prince, designated to be Khyan's successor. He may have succeeded his father, thereby giving rise to the mention of a king "Iannas" in Manetho's Aegyptiaca, who, improbably, was said to have ruled after the pharaoh Apophis.
Many naval bases were located in and around Egypt in the ancient times of this world. The particular naval base of Peru-nefer was one of the bases established in the Eighteenth Dynasty of the New Kingdom of Egypt. Perunefer is, according to Manfred Biatek, identified with Tell el-Daba/ Ezbet Helmy. Support for this theory comes from excavations and digs that were conducted around the area the naval base was believed to be.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
