Minoan Crete: Art and Architecture at Knossos

Author: josh

Throughout the course of history, religion has plaid an integral part in shaping culture and society. On Minoan Crete, religion inundated politics, economics, sports, architecture and art, and education. The easiest place to see the connection between religion and society on Minoan Crete is at the Palace of Minos at Knossos.

During the middle Minoan period (the period during which the Palace of Minos was built), there were four broad categories of structures. These were tombs, small town houses, villas, and palaces.[1] Some of the most well known palaces are located at Phaistos, Mallia, and Knossos.[2] These palace structures had three primary purposes. These were royal residence, administrative and economic center, and center of cultic activity.[3] Because of this, some scholars would say that these structures were more of a form of temple-city, dedicated to the cult of the bull.[4]

The basic structure of the palace at Knossos followed that of all of the early Minoan palaces. It consisted of a large, multi-roomed building surrounding a central court and oriented roughly on a north-south axis, with a second court on the west side.[5] By this period, foundations were laid of limestone blocks in trenches. The basement and ground-floor level walls were of rubble and mud mortar, while the upper levels and interior walls were of mud-brick. Sometimes interior walls were faced with fine stone, and walls facing weather were of dressed stone. Pillars and columns (usually of stone and wood, respectively) were used as supporting structures. Wood was used for door and window frames, ceilings, and columns. Unique from any other style of architecture, Minoan columns generally were circular and tapered inwards from top to bottom. They were base-less, and the capitals seem to have consisted of a rounded element topped by a square block. The use of columns in cultic practices will be discussed later.[6]

A timber framework with interlacing reeds and straw mixed with clay made up the ceiling. Stair cases were simple yet elegant. One can imagine climbing the Grand Staircase in the east wing at Knossos, moving ever deeper into the heart of the structure, while passing rows of columns and landings leading off into the various state halls and corridors of the palace.[7]

The Minoans once again demonstrated their architectural genius through the construction of a brilliant system of water supply and drainage, most prevalently seen at Knossos. Terracotta pipes were used to conduct water below the floors of the palace. They were constructed with a smaller end that fit into the larger end of the next one. Rainwater could be collected through underground channels and "light wells". Runnels were designed using a parabolic curve, to slow the flow of water. This system was so intricately designed that it continues to be functional today.[8]

The architecture at Knossos shows the combined functionality of royal administration, economic function, and cult center. Off of the west side of the Central Court lays the Throne room. The king (or "priest-king") was believed (as was common during this time) to be descended from a matriarchal deity. The mother goddess, the source of all life, was represented on earth by the priest-king. Thus, his role was not simply administrative, but also involved serving as the link between his people and the divine.[9]

West of the throne room is the western magazine, filled with clay pithoi (storage jars). These massive jars (also found in storerooms scattered throughout the palace) were used for storing products to be traded across the Mediterranean.[10]

Finally, shrines and cult rooms can be found scattered throughout the palace. In fact, it appears that the entire west wing of the palace was used for ritualistic purposes. The Theatral Area, found west of the main palatial structure, was likely used for religious dances (more on this later).[11] Columns appear to have been one of three important religious symbols, although scholars debate their uses. Evidence that they had religious significance is that there are many which seem to serve little or no structural purpose (i.e. some underground pillars did not even reach the ceiling). Also, pillars are found to form crypts, which were the sight of blood sacrifices. Another piece of evidence is that many pillars are inscribed with the image of the double axe, another one of the three important religious symbols, and the primary symbol of the Minoan culture. The pillar cult is scene both on Crete and Malta, and is connected to a matronly figure.[12]

Our clearest evidence of life, culture, and religion on Minoan Crete is the frescoes. These frescoes are of the highest quality: the pigments had been applied to the wall while the stucco was still moist. These figures tell us about clothes, sports, and those ceremonies connected to the cult of the mother goddess, as well as many other aspects of Minoan life. For example, the two remaining frescoes in the Queen's Suite model two common themes: marine creatures and dancing. The various dolphins and fish relate to us the connection between the people and the sea: their source of not only survival but wealth and success as a society as well.[13] As for the dancers, from jewelry one can see that both men and women would dance to summon or appease the mother goddess. The Hagia Triada vase shows those who are preparing to celebrate harvest and the goddess's blessings through dance and song. According to Curt Sachs, a scholar of international dance and formerly of Columbia University describes the ecstatic and orgiastic element of the dance found in the Sacred Grove and Dance Fresco.[14]

Among the many themes of frescoes are mythological creatures, such as those figures (perhaps Griffins guarding the priest-king?) found in the Throne Room. Other than these creatures, the subject of the throne room was peaceful, unlike similar Egyptian throne rooms, whose artistic focus was on war. Other scenes from throughout the palace include vibrantly dressed people and plumed birds. One, the Toreador Fresco, deserves special mention, as it ties together dance and sport in a religious ceremony known as bull-grappling. In bull-grappling, one person stands behind the bull while another runs towards the bull, grabs its horns, and somersaults over the bull's back, into the waiting arms of the first person.[15] Common in this era was the idea that the earth rested on the back of a great beast, usually a bull. One can see how the Minoans would hold to the idea that the constant earthquakes on their island were the bellowing of the bull. They seem to have held that the mother goddess was the protagonist in the struggle with the bull, thus a victory over the bull in the arena increased the prestige and power of the goddess, meaning greater protection of the island from the bull's wrath (earthquakes).[16]

The amazing art and architecture of ancient Minoan Crete gives modern viewers a valuable glimpse into the connection between society and religion. Through ingenious design and creativity, the Minoans show the intertwining of the roles of politics, economics, and recreation, as based upon and upheld by the protection and blessing of the mother goddess. With her guidance, the Minoan society shone as queen of the Mediterranean.

[1] "Minoan, II: Architecture"; Fortenberry, C.D.; Oxford Art Online

[2] "Knossos"; The Complete Illustrated World Encyclopedia of Archaeology; ed. Bahn, Paul

[3] Fortenberry

[4] "Knossos"

[5] Fortenberry

[6] Fortenberry

[7] The Aegean Civilizations; Warren, Peter; Elsevier Phaidon; 1975 (pgs.85-87)

Fortenberry

[8] The House of the Double Axe; Vaughan, Agnes Carr; Doubleday & Company, Inc., New York; 1951 (ch. 7: "The Underground Drainage System"

Fortenberry

[9] Vaughan (ch. 5: "Minos, Priest-King of Knossos")

[10] Warren (pg. 85)

[11] Fortenberry

Warren

[12] Vaughan (Pt.2, ch. 9: "The Pillar")

[13] Vaughan (Pt.1, ch. 8: "The Queen's Suite")

[14] Vaughan (Pt. 2, Ch. 6: "Minoan Dances")

[15] Vaughan (Pt. 1, Ch. 6: "The Frescoes")

[16] Vaughan (Pt. 2, Ch. 5: "Bull-grappling and Other Sports")

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About the Author

Josh Lopez is an undergraduate entrepreneurship major with a passion for history, writing, and travel. He is also the owner and President of Affordable Luxuries, a small import/export company. Hobbies include playing chess and hand drums, reading a good novel, and any form of outdoor activity. A masters in history and a career as an international marketing/history consultant are in scope for the next five years. Email: lopezjd1@gcc.edu. Blog: jdl-livelife.blogspot.com.