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Minoan pottery
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"Marine Style" flask with octopus, c. 1500-1450 BC
Figurine of female worshipper, Phaistos, 1700-1600 BC, AMH
Minoan pottery has been used as a tool for dating the mute Minoan civilization. Its restless sequence of quickly 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, on Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.
The pottery consists of vessels of various shapes, which as with other types of Ancient Greek pottery may be collectively referred to as "vases", and also "terracottas", small ceramic figurines, models of buildings and some other types. Some pieces, especially the cups of rhyton shape, overlap the two categories, being both vessels for liquids but essentially sculptural objects. Several pottery shapes, especially the rhyton cup, were also produced in soft stones such as steatite, but there was almost no overlap with metal vessels. Pottery sarcophagus chests were also made for cremated ashes, as in an example now in Hanover.
The finest achievements came in the Late Minoan period, with the palace pottery called Kamares ware, and the Late Minoan all-over patterned "Marine Style" and "Floral Style". These were widely exported around the Aegean civilizations and sometimes beyond, and are the high points of the Minoan pottery tradition.
The best and most comprehensive collection is in the Heraklion Archaeological Museum (AMH) on Crete (where most pieces illustrated are held).
Contents
1 Traditional chronology
2 Production and techniques
3 Early Minoan
3.1 FN, EM I
3.2 Pyrgos Ware
3.3 Incised Ware
3.4 Agyios Onouphrios, Lebena
3.5 Koumasa and Fine Gray Ware
3.6 Vasiliki Ware
3.7 EM III Pottery
4 Middle Minoan
4.1 Pithoi
4.2 New styles
4.3 Kamares Ware
4.4 Age of Efflorescence
5 Late Minoan
5.1 Floral style
5.2 Marine style
5.3 Rhyta
6 Minoan-Mycenaean
6.1 Palace style
6.2 Plain and Close Styles
6.3 The Middle East Style
6.4 Subminoan
7 Discovery and recognition
8 Written records of pots and pans
9 See also
10 Notes
11 References
12 Further reading
13 External links
Traditional chronology[edit]
Further information: Minoan chronology, Minoan pottery, and Dating the Thera eruption
Minoan chronology
3500–2900 BC[1] EMI Prepalatial
2900–2300 BC EMII
2300–2100 BC EMIII
2100–1900 BC MMIA
1900–1800 BC MMIB Protopalatial
(Old Palace Period)
1800–1750 BC MMIIA
1750-1700 BC MMIIB Neopalatial
(New Palace Period)
1700–1650 BC MMIIIA
1650–1600 BC MMIIIB
1600–1500 BC LMIA
1500–1450 BC LMIB Postpalatial
(at Knossos;
Final Palace Period)
1450–1400 BC LMII
1400–1350 BC LMIIIA
1350–1100 BC LMIIIB
Main article: Minoan chronology
Pottery from Lebena, Crete, 3000-2100 BC, AMH
The traditional chronology for dating Minoan civilization was developed by Sir Arthur Evans in the early years of the 20th century AD. His terminology and the one proposed by Nikolaos Platon are still generally in use and appear in this article. For more details, see the Minoan chronology.
Evans classified fine pottery by the changes in its forms and styles of decoration. Platon concentrated on the episodic history of the Palace of Knossos. A new method, fabric analysis, involves geologic analysis of coarse and mainly non-decorated sherds as though they were rocks. The resulting classifications are based on composition of the sherds.[2]
Production and techniques[edit]
Little is known about the way the pottery was produced, but it was probably in small artisanal workshops, often clustered in settlements near good sources of clay for potting. For many, potting may well have been a seasonal activity, combined with farming, although the volume and sophistication of later wares suggests full-time specialists, and two classes of workshop, one catering to the palaces.[3] There is some evidence that women were also potters. Archaeologists seeking to understand the conditions of production have drawn tentative comparisons with aspects of both modern Cretan rural artisans and the better-documented Egyptian and Mesopotamian Bronze Age industries.[4] In Linear B the word for potter is "ke-ra-me-u".[5]
Technically, slips were widely used, with a variety of effects well understood. The potter's wheel appears to have been available from the MM1B, but other "handmade" methods of forming the body remained in use, and were needed for objects with sculptural shapes.[6] Ceramic glazes were not used, and none of the wares were fired to very high temperatures, remaining earthenware or terracotta. All of these characteristics remain true of later Greek pottery throughout its great period. The finest wares often have very thin-walled bodies. The excavation of an abandoned LM kiln at Kommos (the port of Phaistos), complete with its "wasters" (malformed pots), is developing understanding of the details of production.[7] The styles of pottery show considerable regional variation within Crete in many periods.[8]
Early Minoan[edit]
This is only a brief introduction to the topic of Early Minoan pottery, concentrating on some of the better-known styles; it should not be regarded as comprehensive. A variety of forms are known. The period is generally characterized by a large number of local wares with frequent Cycladic parallels or imports, suggesting a population of checkerboard ethnicity deriving from various locations in the eastern Aegean or even wider. The evidence is certainly open to interpretation, and none is decisive.
FN, EM I[edit]
Early Minoan pottery, to some extent, continued, and possibly evolved from, the local Final Neolithic[9] (FN) without a severe break. Many[who?] suggest that Minoan civilization evolved in-situ and was not imported from the East. Its other main feature is its variety from site to site, which is suggestive of localism of Early Minoan social traditions.
Studies of the relationship between EM I and FN have been conducted mainly in East Crete.[10] There the Final Neolithic has affinities to the Cyclades, while both FN and EM I settlements are contemporaneous, with EM I gradually replacing FN. Of the three possibilities, no immigration, total replacement of natives by immigrants, immigrants settling among natives, Hutchinson[11] takes a compromise view:
"The Neolithic Period in Crete did not end in a catastrophe; its culture developed into that of the Bronze Age under pressure from infiltration of relatively small bands of immigrants from the south and east, where copper and bronze had long been in use."
Pyrgos Ware[edit]
Early Minoan pottery from Pyrgos, 3000-2600 BC, Archaeological Museum of Heraklion (AMH)
EM I types include Pyrgos Ware,[12] also called "Burnished Ware". The major form was the "chalice", or Arkalochori Chalice, in which a cup combined with a funnel-shaped stand could be set on a hard surface without spilling. As the Pyrgos site was a rock shelter used as an ossuary, some hypothesize ceremonial usage]. This type of pottery was black, grey or brown, and burnished, with some sort of incised linear pattern. It may have imitated wood.
Incised Ware[edit]
Another EM I type, Incised Ware, also called Scored Ware, were hand-shaped, round-bottomed, dark-burnished jugs (Example) and bulbous cups and jars ("pyxes"). Favored decor was incised line patterns, vertical, horizontal or herring-bone. These pots are from the north and northeast of Crete and appear to be modeled after the Kampos Phase of the Grotta-Pelos early Cycladic I culture. Some have suggested imports or immigrations. See also Hagia Photia.
Agyios Onouphrios, Lebena[edit]
Agios Onouphrios ware with painted parallel-line decoration, 2600-1900 BC, AMH
The painted parallel-line decoration of Ayios Onouphrios I Ware was drawn with an iron-red clay slip that would fire red under oxidizing conditions in a clean kiln but under the reducing conditions of a smoky fire turn darker, without much control over color, which could range from red to brown. A dark-on-light painted pattern was then applied.[13] From this beginning, Minoan potters already concentrated on the linear forms of designs, perfecting coherent designs and voids that would ideally suit the shape of the ware. Shapes were jugs, two-handled cups and bowls. The ware came from north and south central Crete, as did Lebena Ware of the same general types but decorated by painting white patterns over a solid red painted background (Example). The latter came from EM I tombs.
Koumasa and Fine Gray Ware[edit]
In EM IIA, the geometric slip-painted designs of Koumasa Ware seem to have developed from the wares of Aghios Onouphrios. The designs are in red or black on a light background. Forms are cups, bowls, jugs and teapots (Example: "Goddess of Myrtos"). Also from EM IIA are the cylindrical and spherical pyxides called Fine Gray Ware or just Gray Ware, featuring a polished surface with incised diagonals, dots, rings and semicircles.
File:Early Minoan pottery, 3000-2600 BC
Bird shaped clay vessel from Koumasa, 2600–2300 BC, AMH.
Burnished cup, Kyparissi, 2600-1900 BC, AMH
Vasiliki Ware[edit]
The EM IIA and IIB Vasiliki Ware, named for the Minoan site in eastern Crete,[14] has mottled glaze effects, early experiments with controlling color, but the elongated spouts drawn from the body and ending in semicircular spouts show the beginnings of the tradition of Minoan elegance (Examples 1, Examples 2). The mottling was produced by uneven firing of the slip-covered pot, with the hottest areas turning dark. Considering that the mottling was controlled into a pattern, touching with hot coals was probably used to produce it. The effect was paralleled in cups made of mottled stone.
Another style of "teapot", Vasiliki, 2400 - 2200 BC, AMH
Vasiliki ware, jug, 2400-2200 BC
Teapot in the white style, 2300–2000 BC, AMH
White style jug, 2300-1900 BC
Other shapes; two "egg-cups" at rear
White style teapots, AMH
EM III Pottery[edit]
In the latest brief transition (EM III), wares in eastern Crete begin to be covered in dark slip with light slip-painted decor of lines and spirals; the first checkered motifs appear; the first petallike loops and leafy bands appear, at Gournia (Walberg 1986). Rosettes appear and spiral links sometimes joined into bands. These motifs are similar to those found on seals. In north central Crete, where Knossos was to emerge, there is little similarity: dark on light linear banding prevails; footed goblets make their appearance (Example).
Middle Minoan[edit]
Clay house model from Archanes, 1700 BC, AMH
Of the palace at Knossos and smaller ones like it at Phaestos, Mallia and elsewhere, Willetts says:[15]
"These large palaces were central features of sizable cities... Apparently they were also administrative and religious centres of self-supporting regions of the island."
The rise of the palace culture, of the "old palaces" of Knossos and Phaistos and their new type of urbanized, centralized society with redistribution centers required more storage vessels and ones more specifically suited to a range of functions. In palace workshops, standardization suggests more supervised operations and the rise of elite wares, emphasizing refinements and novelty, so that palace and provincial pottery become differentiated.
The forms of the best wares were designed for table and service. In the palace workshops, the introduction from the Levant of the potter's wheel in MMIB enabled perfectly symmetrical bodies to be thrown from swiftly revolving clay.[16] The well-controlled iron-red slip that was added to the color repertory during MMI could be achieved only in insulated closed kilns that were free of oxygen or smoke.
Pithoi[edit]
"Medallion Pithoi", or storage jars, at the Knossos palace. Named from the raised disks, they date to MM III/LM IA.
Any population center requires facilities in support of human needs and that is true of the palaces as well. Knossos had extensive sanitation, water supply and drainage systems,[17] which is evidence that it was not a ceremonial labyrinth or large tomb. Liquid and granular necessities were stored in pithoi located in magazines, or storage rooms, and elsewhere. Pithoi make their earliest appearance just before MMI begins and continue into Late Minoan, becoming very rare by LMIII (Examples 1, Examples 2). About 400 pithoi were found at the palace of Knossos. An average pithos held about 1100 pounds of fluid. Perhaps because of the weight, pithoi were not stored on the upper floors.
New styles[edit]
New styles emerge at this time: an Incised Style, the tactile Barbotine ware, studded with knobs and cones of applied clay in bands, waves and ridges, sometimes reminiscent of sand-dollar tests and barnacle growth (Example), and the earliest stages of Kamares ware. Spirals and whorls are the favorite motifs of Minoan pottery from EM III onwards (Walberg). A new shape is the straight-sided cylindrical cup.
MMIA wares and local pottery imitating them are found at coastal sites in the eastern Peloponnese, though not more widely in the Aegean until MMIB; their influence on local pottery in the nearby Cyclades has been studied by Angelia G. Papagiannopoulou (1991). Shards of MMIIA pottery have been recovered in Egypt and at Ugarit.
Kamares Ware[edit]
Kamares ware jug
A Kamare style vase, 2100-1700 BCE
Kamares Ware was named after finds in the cave sanctuary at Kamares on Mt. Ida in 1890. It is the first of the virtuoso polychrome wares of Minoan civilization, though the first expressions of recognizably proto-Kamares decor predate the introduction of the potter's wheel.
Finer clay, thrown on the wheel, permitted more precisely fashioned forms, which were covered with a dark-firing slip and exuberantly painted with slips in white, reds and browns in fluent floral designs, of rosettes or conjoined coiling and uncoiling spirals. Designs are repetitive or sometimes free-floating, but always symmetrically composed. Themes from nature begin here with octopuses, shellfish, lilies, crocuses and palm-trees, all highly stylized. The entire surface of the pot is densely covered, but sometimes the space is partitioned by bands. One variety features extravagantly thin bodies and is called Eggshell Ware (Example 1, Example 2).
Four stages of Kamares ware were identified by Gisela Walberg (1976), with a "Classic Kamares" palace style sited in MMII, especially in the palace complex of Phaistos. New shapes were introduced, with whirling and radiating motifs.(Examples 1, Examples 2, Examples 3, Examples 4, Examples 5, Examples 6, Examples 7, Examples 8, Examples 9, Examples 10)
Cup from Phaistos
Cups from Phaistos
Krater from Phaistos
Dish from Phaistos
Pithos with fish in a net, Phaistos
Phaistos
Jug with barbotine decoration, 2100-1950
Age of Efflorescence[edit]
In MMIIB, the increasing use of motifs drawn from nature heralded the decline and end of the Kamares style. The Kamares featured whole-field floral designs with all elements linked together (Matz). In MMIII patterned vegetative designs, the Patterned Style, began to appear. This phase was replaced by individual vegetative scenes, which marks the start of the Floral Style. Matz refers to the "Age of Efflorescence", which reached an apogee in LM IA. (Some would include Kamares Ware under the Floral Style.)
The floral style depicts palms and papyrus, with various kinds of lilies and elaborate leaves. It appears in both pottery and frescoes. One tradition of art criticism calls this the "natural style" or "naturalism" but another points out that the stylized forms and colors are far from natural. Green, the natural color of vegetation, appears rarely. Depth is represented by position around the main scene.
Late Minoan[edit]
LMI marks the highwater of Minoan influence throughout the southern Aegean (Peloponnese, Cyclades, Dodecanese, southwestern Anatolia). Late Minoan pottery was being widely exported; it has turned up in Cyprus, the Cylades, Egypt and Mycenae.
Floral style[edit]
Fluent movemented designs drawn from flower and leaf forms, painted in reds and black on white grounds predominate, in steady development from Middle Minoan. In LMIB there is a typical all-over leafy decoration, for which first workshop painters begin to be identifiable through their characteristic motifs; as with all Minoan art, no name ever appears.
Marine style[edit]
In LMIB, the Marine Style also emerges; in this style, perhaps inspired by frescoes, the entire surface of a pot was covered with sea creatures, octopus, fish and dolphins, against a background of rocks, seaweed and sponges (Examples 1, Examples 2, Examples 3, Examples 4. The Marine Style is more free flowing with no distinct zones, because it shows sea creatures as floating, as they would in the ocean.[18] The Marine style was the last purely Minoan style; towards the end of LMIB, all the palaces except Knossos were violently destroyed, as were many of the villas and towns. This was because of the eruption of the volcano on the island of Thera during LMIA[19]. The explosion caused a tsunami which hit the northern coast of Crete[20], and devastated the coastal settlements where the bulk of the palace complexes were located. [21]
Rhyta[edit]
Steatite rhyta in foreground, clay on shelf behind.
Dated to LM IA and following also are conical rhyta, or drinking cups, in steatite and also imitated in ceramic. (Example) Some of the rhyta are ornate libation vessels, such as the noted "Bull's-head Rhyton" found at Knossos. The Bull's Head Rhyton, however, was a specific type of which many instances have been found. The bull's head is found in ceramic as well. Other noted stone vases of LM IA and II are the "Harvester Vase" View 1, View 3, View 4, from Hagia Triada, which depicts a harvest procession, "the Chieftain Cup", depicting a coming-of-age rite, the Boxer Rhyton (Hagia Triada), showing boxing scenes, the Sanctuary Rhyton, depicting a peak sanctuary to the "mistress of animals" and featuring birds and leaping goats, and others.
Marine Style "Ewer of Poros", 1500-1450 BC
Floral Style ewer from Phaistos, 1500-1450 BC
Floral Style ewer with papyrus, from Palaikastro, 1500-1450 BC
Clay bulls head rhyton, Palaikastro, 1500-1450 BC, AMH
Bull's-head Vase from LM II
Minoan-Mycenaean[edit]
Restored frieze at Knossos showing Minoan ware. Although the rhyton (conical vase) is probably steatite, the other ware is most likely ceramic.
Around 1450 BCE, the beginning of LM II, the Mycenaean Greeks must have moved into the palace of Knossos. They were well-established by 1400, if the Linear B tablets can be dated to then. The resulting LM II culture is not a break with the Minoan past. Minoan traditions continue under a new administration. However, the vase forms and designs became more and more Mycenaean in character with a large variety of decoration. Style names have multiplied and depend to some degree on the author. The names below are only a few of the most common. Some authors just use the name "Mycenaean Koine"; that is, the Late Minoan pottery of Crete was to some degree just a variety of widespread Mycenaean forms. The designs are found also on seals and ceilings, in frescoes and on other artifacts. Often Late Minoan pottery is not easily placed in sub-periods. In addition are imports from the neighboring coasts of the Mediterranean. Ceramic is not the only material used: breccia, calcite, chlorite, schist, dolomite and other colored and patterned stone were carved into pottery forms. Bronze ware appears imitating the ceramic ware.
Palace style[edit]
Late Minoan III Floral style, 1400-1100 BC
During LMII, Mycenean influence became apparent. The vase forms at Knossos are similar to those on the mainland. The Palace Style[22] showcased by them adapts elements of the previous styles but also adds features, such as the practice of confining decor in reserves and bands, emphasizing the base and shoulder of the pot and the movement towards abstraction (Examples 1, Examples 2, Examples 3). This style started in LM II and went on into LM III. The palace style was mostly confined to Knossos. In the late manifestation of the palace style, fluent and spontaneous earlier motifs stiffened and became more geometrical and abstracted. Egyptian motifs such as papyrus and lotus are prominent.
Plain and Close Styles[edit]
The Plain Style and Close Style developed in LM IIIA, B from the Palace Style. In the Close Style the Marine and Floral Styles themes continue, but the artist manifests the horror vacui or "dread of emptiness". The whole field of decoration is filled densely. (Examples). The Stirrup Jar is especially frequent.
The Middle East Style[edit]
IIIC
Subminoan[edit]
Finally, in the Subminoan period, the geometric designs of the Dorians become more apparent. (Example)
Discovery and recognition[edit]
Minoan wares were already familiar from finds on the Greek mainland, and export markets like Egypt, before it was realized that they came from Crete. In most 19th-century literature they are described as "Mycenaean", and the recognition and analysis of styles and periods had gone some way on this assumption. Only in the 1890s were the first finds on Crete recognised and published, from a cave at Kamares. These were found by a local archaeologist who allowed the young John Myres to publish them; Myres had realized that they were the same ware as finds in Egypt published by Flinders Petrie. For several decades analysis of Minoan pottery was essentially stylistic and typological, but in recent decades there has been a turn towards technical and socio-economic analysis.[23]
Written records of pots and pans[edit]
The Linear B tablets contain records of vessels made of various materials. The vessel ideograms are not so clear as to make correlation with discovered artifacts easy. Using a drawing of the "Contents of the Tomb of the Tripod Hearth" at Zafer Papoura from Evans' Palace of Minos,[24] which depicts LM II bronze vessels, many in the forms of ceramic ones, Ventris and Chadwick[25] were able to make a few new correlations.
Ideogram[26] Linear B[27] Mycenaean Greek Classical Greek Etymology Examples
LM II Vessels[28]
202 GOBLET? di-pa *dipas (sing) depas (sing), cup, archaic large vessel. C.Luvian tappas and H. Luvian (CAELUM)ti-pa-sº 'sky (perceived by Anatolians as a cup covering the flat Earth)' (Yakubovich apud Melchert) 1, 2[permanent dead link] (reproduction)
207 TRIPOD AMPHORA ku-ru-su-pa3 Not Greek Not Greek ? 1 (Early Cypriote)
209 AMPHORA a-pi-po-re-we *amphiphorewes (pl) amphiphoreus (sing), an amphora "port-about" (Hoffman) 1
210 STIRRUP JAR ka-ra-re-we *khlarewes (pl) khlaron (sing), archaic oil jar "yellow stuff" (Hoffman) 1, 2, 3, 4
211 WATER BOWL? po-ti-[]-we ? ? ?
212 WATER JAR? u-do-ro *hudroi (pl) hydros (sing), a water-snake "water (jars)" 1
213 COOKING BOWL i-po-no *ipnoi (pl)[29] ipnos (sing), a baking dish "Dutch oven"[30]
See also[edit]
Wikimedia Commons has media related to Minoan pottery.
Poppy goddess, a LM figurine
Thrapsano, then and now, a village known for pottery
Notes[edit]
Jump up ^ This chronology of Minoan Crete is the one used by Andonis Vasilakis in his book on Minoan Crete, published by Adam Editions in 2000, but other chronologies will vary, sometimes quite considerably (EM periods especially). Sets of different dates from other authors are set out at Minoan chronology
Jump up ^ Fabric Research and Analysis, The Spakia Survey: Internet Edition.
Jump up ^ Traunmueller, 341-350
Jump up ^ Traunmueller, 341-350
Jump up ^ Traunmueller, 348
Jump up ^ Oxford, 409
Jump up ^ A LM IA Ceramic Kiln in South-Central Crete, Joseph W. Shaw et al., Hesperia Supplement 30, 2001.
Jump up ^ Oxford, Chapter 30 summarizes these.
Jump up ^ This term dating from the late 20th century means the very last, transitional phase of the Neolithic, in which stone tools were in use along with elements of the succeeding metal age. The terms, "Chalcolithic", "Copper Age" and "Sub-Neolithic", clearly fall into this category. They are used in this general sense in the archaeology of Europe. Archived 2007-01-07 at the Wayback Machine. However, the Final Neolithic also tends to refer to specific cultures. With reference to the Aegean, it means Late Neolithic Ib - II Archived 2006-05-25 at the Wayback Machine., during which painted ware was replaced by coarse ware in the Cyclades; on Crete, it means the Neolithic before EM I, which features coarse wares. In a general sense, all EM might have been Final Neolithic, as bronze materials do not start until the MM period. It is not, however, used in that sense with reference to Crete.
Jump up ^ Hayden, Barbara J. (2003). "The Final Neolithic-Early Minoan I/IIA Settlement History of the Vrokastro Area, Mirabello, Eastern Crete" (PDF). Mediterranean Archaeology and Archaeometry. MAA. 3 (1): 31–44. Archived from the original (pdf) on August 12, 2011. Retrieved May 2, 2013.
Jump up ^ Hutchinson, Chapter 6
Jump up ^ Pyrgos I-IV, EM I through LM I, has been defined.
Jump up ^ Examples 1, Examples 2.
Jump up ^ http://www.minoancrete.com/vasiliki.htm
Jump up ^ Willetts, Chapter 4
Jump up ^ Prior to the introduction of the wheel turn-table disks were used, such as were discovered in Myrtos I from EM times. The larger pots continued to be made this way.
Jump up ^ C. Michael Hogan. 2007. Knossos fieldnotes, The Modern Antiquarian
Jump up ^ T.,, Neer, Richard (2012). Greek art and archaeology : a new history, c. 2500-c. 150 BCE. New York: Thames & Hudson Inc. p. 30. ISBN 9780500288771. OCLC 745332893.
Jump up ^ T.,, Neer, Richard. Greek art and archaeology : a new history, c. 2500-c. 150 BCE. New York. ISBN 9780500288771. OCLC 745332893.
Jump up ^ T.,, Neer, Richard. Greek art and archaeology : a new history, c. 2500-c. 150 BCE. New York. ISBN 9780500288771. OCLC 745332893.
Jump up ^ Neer, Richard (2012). Greek Art and Archeology. New York, New York USA: Thames and Hudson Inc. p. 36.
Jump up ^ Evans' term, after the Palace Period
Jump up ^ Knappet, Carl, in Cappel, 329-334
Jump up ^ Volume II, Page 634, Figure 398
Jump up ^ Documents in Mycenaean Greek Page 326.
Jump up ^ The ideograms vary somewhat. A link to the unicode standard is given.
Jump up ^ Only names on Cretan tablets are given.
Jump up ^ Most of these vessel types can be found in Betancourt's Cooking Vessels from Minoan Kommos: A Preliminary Report. The dates are MM and LM, which shows that the forms of the ideograms were long-standing.
Jump up ^ Ventris wrote a letter Archived 2007-12-15 at the Wayback Machine. to Bennett concerning this reconstruction.
Jump up ^ Possibly *aukw-, but the origin of the p instead of a reflex of kW is troubling. For a detailed linguistic presentation see Brent Vine, [1]
References[edit]
Betancourt, Philip P. 1985. The History of Minoan pottery Princeton University Press. A handbook.
Cappel, Sarah et al, eds., Minoan Archaeology: Perspectives for the 21st Century, 2015, Presses universitaires de Louvain, ISBN 2875583948, 9782875583949
Hutchinson, Prehistoric Crete, many editions hardcover and softcover
Matz, Friedrich, The Art of Crete and Early Greece, Crown, 1962
Mackenzie, Donald A., Crete & Pre-Hellenic, Senate, 1995, ISBN 1-85958-090-4
"Oxford", The Oxford Handbook of the Bronze Age Aegean, Eric H. Cline (ed.), 2012, Oxford UP, ISBN 9780199873609, google books
Palmer, L. A., Mycenaeans and Minoans, multiple editions
Preziosi, Donald and Louise A. Hitchcock 1999 Aegean Art and Architecture ISBN 0-19-284208-0
Platon, Nicolas, Crete (translated from the Greek), Archaeologia Mundi series, Frederick Muller Limited, London, 1966
Traunmueller, Sebastian, "Pots and Potters", in Cappel, google books
Willetts, The Civilization of Ancient Crete, Barnes & Noble, 1976, ISBN 1-56619-749-X
Library resources about
Minoan pottery
Online books
Resources in your library
Resources in other libraries
Further reading[edit]
Betancourt, Philip P. 2007. Introduction to Aegean Art. Philadelphia: INSTAP Academic Press.
Boardman, John. 2001. The History of Greek Vases: Potters, Painters, Pictures. New York: Thames & Hudson.
MacGillivray, J.A. 1998. Knossos: Pottery Groups of the Old Palace Period BSA Studies 5. (British School at Athens) ISBN 0-904887-32-4 Bryn Mawr Classical Review 2002
Preziosi, Donald, and Louise A. Hitchcock. 1999. Aegean Art and Architecture. Oxford: Oxford University Press.
Walberg, Gisela. 1986. Tradition and Innovation. Essays in Minoan Art (Mainz am Rhein: Verlag Philipp Von Zabern)
Dartmouth College: Bibliography (see Pottery)
Edey, Maitland A., Lost World of the Aegean, Time-Life Books, 1975
External links[edit]
Dartmouth College: Prehistorical Archaeology of the Aegean website:
5. Early Minoan
10. Middle Minoan
14. Late Minoan
Doumas Kristos' description of local pottery and Cretan imports from the excavations at Akrothiri (Santorini) (in English)
GiselaWalberg finds little influence between Minoan vase-paintings and glyptic motifs (in English)
Material and Techniques of the Minoan Ceramics of Thera and Crete, Thera Foundation
Victor Bryant, Web Tutorial for Potters, under Crete & Mycenae
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Bangs (hip hop artist)
From Wikipedia, the free encyclopedia
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Bangs
Birth name
Ajak Chol
Also known as
Bangs, Ur Boy Bangs, Ur Boi Bangs, Mutal Bangz
Born
(1990-09-28) 28 September 1990 (age 27)
Origin
Juba, South Sudan/Melbourne, Australia
Genres
Hip hop, Rap
Occupation(s)
Hip-hop artist
Years active
2004–present
Labels
HSM Entertainment
Associated acts
Nubian Knights, Ray Harmony
Website
http://www.bangs8.com/ (archived)
Ajak Chol (born September 28, 1990), better known by his stage name Bangs, Ur Boy Bangs and Ur Boi Bangs and formerly Bstar Bangs, is a South Sudanese-Australian hip hop artist. He is best known for his viral songs "Take U to Da Movies" and "Meet Me on Facebook".
Contents
1 Biography
1.1 Musical career
2 Discography
2.1 Tour
2.2 Fame and reputation
2.3 Influences
3 References
4 External links
Biography[edit]
Ajak Chol was born in Juba, South Sudan in 1990. At the age of 11, he moved to Egypt with his family after his father married another wife. He spent two years there before emigrating to Australia with his family in 2003.[1]
Musical career[edit]
In 2005 Chol formed the Nubian Knights, a hip-hop collective (together with fellow east-African migrants Ezeldin Deng, Francis Dbuia, Abraham Adet and Tong Bol), as result of the Footscray Community Arts Centre's ID Check project. The Nubian Knights produced a self-titled album and performed as part of the St Jerome's Laneway Festival in 2009.[2]
Chol recorded his debut album Hard 2 Be Up in mid 2008 at Gateway Living Music Studios in Footscray, Victoria, with producer John Favaro. In 2009, he posted "Take U to Da Movies" on YouTube a satire on real rap music, where it became a viral hit after a few months.[3] In 2010 he appeared at the Melbourne Big Day Out on the Lilyworld stage,[4] he recorded two singles, titled "Meet Me on Facebook"[5] and "Christmas Story". A percentage of profit from each sale of "Christmas Story" was donated to the International Rescue Committee, to aid their work in Sudan.[6]
Bangs has collaborated with other Sudanese artists such as Ezu on his song "Hi Haters", Click Fablice on "I Know U Like" and Lil' Fablice on "Forever".
Bangs is signed to record label HSM Entertainment.[7][8]
In 2011 Bangs released his second album Reflections.[9] His most recent album is Bangz the Don, released in December 2012.[10] He also released his first mixtape called NICE in September 2013 as a free download on HotNewHipHop,[11] with part two released on 28 September 2014 – Bangs' birthday.[12]
Discography[edit]
Main article: Bangs discography
REFLECTIONS (2011)
Reflections of Africa (2012)
Tour[edit]
Bangs completed his first tour of New Zealand in May 2014, playing shows in Auckland and Wellington.[13]
Fame and reputation[edit]
Bangs recorded his first album in 2008 in an Australian studio. By late 2009 his internet visibility began to grow as he increased in fame when his video became a viral hit. Bangs was discovered and interviewed on Eminem's internet radio station in 2009. When videos of the interview appeared on YouTube, his fame skyrocketed and several of his music videos accumulated millions of views.[6]
Bangs became visible enough in the mainstream media that in 2010 Honda hired him for an advertisement.[5] The advertisement asked "How much rap can you fit into a Honda Jazz", and featured Bangs rapping to the beat of "Take U to Da Movies".[7] On a 15 July 2015 episode of The Tonight Show Starring Jimmy Fallon, his song, "Take U to Da Movies", was featured on the segment, Do Not Play.[14] In response to this on Sunday 19 July Bangs released a diss track directed at Jimmy Fallon entitled 'Do Not Watch'.[15] On 25 July 2015 Bangs performed the track live to a packed out audience at Laundry Bar in Fitzroy, Victoria[16]
Although Ajak's main fanbase is in Australia, his worldwide renown extends even to the Middle East. He has developed a cult following in cities such as Dubai.
Influences[edit]
Bangs has cited that he was inspired to make music after hearing Soulja Boy.[17] He is also quoted as saying his main musical influence is the rapper Chingy, with Dr. Dre as an additional inspiration for producing. He is also a fan of Kendrick Lamar which can be seen in his "Keep Ur Head Up" video.
References[edit]
Jump up ^ Hemsworth, Ryan. "Interview w/ Bangs". A Half-Warmed Fish. Retrieved 18 January 2013.
Jump up ^ "The Very West Showcase". St Jerome's Laneway Festival. 4 December 2009. Retrieved 18 January 2013.
Jump up ^ Savage, Jay (11 November 2009). "Unlikely rap hit Bangs back for 'Sex'". nineMSN. Retrieved 24 May 2011.
Jump up ^ Blackman, Guy (24 January 2010). "Best in show". The Age. Fairfax Media. Retrieved 18 January 2013.
^ Jump up to: a b Vick, Megan (3 August 2010). "African Rapper Bangs Debuts'Facebook' Single". Billboard. Prometheus Global Media. Retrieved 18 January 2013.
^ Jump up to: a b "Sudanese Rap Phenom Bangs Gets into The Spirit With New Holiday Single, 'a Christmas Story'". PRLog. 8 December 2010. Retrieved 18 January 2013.
^ Jump up to: a b Samuel, Anslem (2 August 2010). "Bangs the Great, "50 Cent Ain't Call Me Back Yet"". XXL. Retrieved 24 May 2011.
Jump up ^ O'Neil, Megan (9 April 2010). "Rapper Bangs Scores Fame and a Record Deal on Youtube". Social Times. WebMediaBrands Inc. Retrieved 18 January 2013.
Jump up ^ https://itunes.apple.com/au/album/reflections/id428750360
Jump up ^ https://itunes.apple.com/us/album/bangz-the-don/id590778196
Jump up ^ http://www.hotnewhiphop.com/ur-boy-bangs-nice-mixtape.93637.html
Jump up ^ https://www.facebook.com/photo.php?fbid=908964042462631&set=a.470635096295530.126504.162826990409677&type=1
Jump up ^ "Ur Boy Bangs in Auckland review". 3news.co.nz. David Farrier.
Jump up ^ Bowden, Ebony (17 July 2015). "Jimmy Fallon makes fun of 'terrible' Australian rapper Bangs on The Tonight Show". The Sydney Morning Herald. Retrieved 19 July 2015.
Jump up ^ "Bangs fires back at Jimmy Fallon with polite rap diss track". Sydney Morning Herald.
Jump up ^ "EVENT RECAP: BANGS YOUR BOI GOT LIVE AT LAUNDRY". Acclaim. Retrieved 5 August 2015.
Jump up ^ Kalagas, Sophie (29 November 2012). "Bangs takes us to the Movies". Everguide (Sydney). Lifelounge Pty Ltd.
External links[edit]
It's not easy doing what I do: Bangs – Interview with Channel 9
Authority control
MusicBrainz: e65371e4-fd0c-4a74-b0f0-fa7261b47e5e
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bangs_(hip_hop_artist)&oldid=851627624"
Categories:
1990 births
Australian hip hop musicians
Australian male rappers
Australian people of South Sudanese descent
Living people
Musicians from Melbourne
People from Juba
South Sudanese emigrants to Australia
South Sudanese expatriates in Egypt
South Sudanese musicians
Australian YouTubers
21st-century Australian musicians
Internet memes
Hidden categories:
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Use dmy dates from August 2014
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This page was last edited on 23 July 2018, at 15:19 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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