Minoan art is the art produced by the Minoan civilization from about 2600 to 1100 BC.
The largest collection of Minoan art is in the museum at Heraklion, near Knossos, on the northern coast of Crete. Minoan art and other remnants of material culture, especially the sequence of ceramic styles, have been used by archaeologists to define the three phases of Minoan culture (EM, MM, LM).
Since wood and textiles have decomposed, the best-preserved (and most instructive) surviving examples of Minoan art are its pottery, palace architecture (with frescos which include landscapes), stone carvings and intricately-carved seal stones.
Frescoes were the stereotypical type of Art that depicted natural movements. Several frescoes at Knossos and Santorini survive. Arthur Evans hired Swiss artist Emile Gilliéron and his son, Emile, as the chief fresco restorers at Knossos. Spyridon Marinatos unearthed the ancient site at Santorini, which included frescoes which make it the second-most famous Minoan site.
In contrast to Egyptian frescoes, Crete had true frescoes. Probably the most famous fresco is the bull-leaping fresco.They include many depictions of people, with sexes distinguished by color; the men’s skin is reddish-brown, and the women’s white.
Many different styles of potted wares and techniques of production are observable throughout the history of Crete. Early Minoan ceramics were characterized by patterns of spirals, triangles, curved lines, crosses, fish bones, and beak-spouts. However, while many of the artistic motifs are similar in the Early Minoan period, there are many differences that appear in the reproduction of these techniques through out the island which represent a variety of shifts in taste as well as in power structures.
During the Middle Minoan period, naturalistic designs (such as fish, squid, birds and lilies) were common. In the Late Minoan period, flowers and animals were still characteristic but more variety existed.
One of the earliest styles in EM I was the Coarse Dark Burnished class. The dark burnished class most closely mimics the techniques of the Neolithic era. After new techniques allowed for the development of new styles of pottery in the early bronze age, Coarse Dark Burnished class remained in production, and while most wares from the Coarse Dark Burnished class are generally less extravagant than other styles that utilize the technological developments that emerged during EM I, some examples of intricate pieces exist . This may suggest that there was a desire within the communities who produced Coarse Dark Burnished ware to separate themselves from the communities who produced wares with the new techniques.
The Aghious Onouphrios and the Lebena classes were two of the most widespread styles of pottery that used techniques of which there are no antecedent examples . Both techniques utilized a variety of new techniques, for example the selection and handling of materials, the firing process, sapping and ornamentation. Both styles used fine patterns of lines to ornament the vessels. In the case of Aghious Onouphrios, vessel had a white backing and were painted with red lining. Conversely, in the case of the Lebena style white lines were painted above a red background.
Another EM I class was Pirgos ware. The style may have been imported, and perhaps mimics wood. Pirgos wares utilize a combination of old and new techniques. Pirgos wares are a subdivision of the Fine Dark Burnished class that have characteristic burnished patterns. The patterning is likely due to an inability to effectively paint the styles’ dark background.
These three classes of EM I pottery adequately reveal the diversity of techniques that emerged during the period. The Coarse Dark Burnished class continued to use techniques that were already in use, the Aghious Onouphrios and Lebana class used completely new techniques, and the Fine Dark Burnished class used a combination of old and new techniques. However a variety of other EM I wares have been discovered, e.g. the Scored, Red to Brown Monochrome, and the Cycladic classes. Additionally, all of the classes utilized different shapes of pottery.
Metal vessels were produced in Crete from at least as early as EM II (c. 2500) in the Prepalatial period through to LM IA (c. 1450) in the Postpalatial period and perhaps as late as LM IIIB/C (c. 1200), although it is likely that many of the vessels from these later periods were heirlooms from earlier periods.
The earliest were probably made exclusively from precious metals, but from the Protopalatial period (MM IB – MM IIA) they were also produced in arsenical bronze and, subsequently, tin bronze. The archaeological record suggests that mostly cup-type forms were created in precious metals, but the corpus of bronze vessels was diverse, including cauldrons, pans, hydrias, bowls, pitchers, basins, cups, ladles and lamps. The Minoan metal vessel tradition influenced that of the Mycenaean culture on mainland Greece, and they are often regarded as the same tradition. Many precious metal vessels found on mainland Greece exhibit Minoan characteristics, and it is thought that these were either imported from Crete or made on the mainland by Minoan metalsmiths working for Mycenaean patrons or by Mycenaean smiths who had trained under Minoan masters.