The art of the Minoans was very distinctive in its style and its subject matter. It shows influences from other cultures of the Eastern Mediterranean. For instance the convention of showing humans in profile is a prominent feature of Egyptian dynastic art. The subjects of Minoan works of art are most often vivid images of nature, as well as images of court and religious life. The art of the Minoans included large wall frescoes, ceramics, small figurines of terracotta and others of faience, and other works in stone. With the one exception of the frescoes, Minoan art was primarily an art in miniature.

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Frescoes
The walls and even ceilings of many of the Minoan “palaces” were decorated with large, oversized frescoes. They were an integral part of the architectural plan and decoration scheme of the buildings (see Minoan Architecture). The subjects of the paintings were depicted in bright and vibrant colors. Walls were often painted entirely in one vivid color, even during the earliest periods. Later, figured paintings came into style. Some of the best examples of such figured frescoes come from the excavations at Knossos. The frescoes at this site fall into two general categories, scenes from nature and scenes from the court and ritual events.

The Flying Fish fresco is a perfect example of the nature scene that the Minoans often used. The fish appear to fly through the water, their brightly colored wings and bodies contrasting with the watery background.

The Bull-Vaulting fresco depicts three figures around a charging bull. One is vaulting backwards over the back of the animal, in an unnatural position. Such bull games are thought to have been a part of the religious ritual of the Minoans, culminating in the sacrifice of the bull. The fresco was badly damaged, but was a part of an entire room decorated in a similar manner. Stylistic liberties were taken in the depiction of the bull and the humans in order to emphasize the power of the bull and the agility of the leapers.

A processional scene was located in the entry way of the palace at Knossos. It is only partially preserved, but it has some of the best examples of the Minoan style of depicting humans. Possibly the most striking figure Minoan fresco is undoubtedly that of the woman known as La Parisienne. She has eyes and lips that appear strikingly against the white of her skin, and enhance her already regal pose.

Yet another beautiful fresco is that of the Boxing Boys found at Thera. It is a realistic representation of children playing together. The youths are depicted with childish anatomy, the earliest naturalistic representations of children.

Similar paintings were also used to decorate sarcophagi from the same period, such as the Ayia Triadha sarcophagus. A fresco on one side depicts a funerary scene with a procession of mourners, on the other side a scene of a bull sacrifice, possibly as a part of a funerary ceremony.

Ceramics
The ceramics of the Minoans were just as colorful and lighthearted in their decoration as many of their frescoes. The decorative motifs of the pottery are similar to other genres of painting, a heavy emphasis on scenes from nature including animals and plant life, also more abstract designs and geometric shapes. The earliest styles are extremely colorful, which over time develop into more somber styles primarily in black and white. A feature of Minoan ceramics is the concern of the artists with making the decoration of a pot fit the shape of the form.

The earliest styles recognized as part of the New Palace period are the Floral style and the Pattern style. They are both continuations of the earlier conventions of dark details painted on lighter backgounds.

The Marine style became popular later on, and is named for its realistic depictions of sea life. One of the most famous examples of this ceramic style from Kato Zakro depicts an octopus in a watery world.

The Palace style is a progression of the earlier Floral and Marine styles, within a renewed interest on symmetry and enhancing the shape of the vessel. Another octopus vessel shows the developments with this new style. The octopus is no longer floating aimlessly and without direction as in the Marine style. The octopus is now designed with perfect symmetry in mind, with the tentacles arranged as mirrored images of each other.

The style of Minoan ceramics did not disappear with the collapse of the palace on Crete. They continued their evolution toward greater stylization and abstraction in the hands of the Mycenaeans of the Greek mainland (see Mycenaean Art).

Figurines
The prevalence of votive offerings in the Minoan Religion ensured that hundreds of examples of small votive figurines survived in the archaeological record. Most of those that have been found are made of terracotta. A large proportion of them are of women, with bell-shaped skirts made on a potter’s wheel, with their arms raised in a gesture of epiphany. Small clay models of houses and other buildings have also been found in religious settings.

Some of the most famous figurines are those of faience, a glaze primarily consisting of crushed quartz. Two female figurines of faience were found at Knossos, these are the most celebrated icons of Minoan art and culture. These women don the typical flounced skirts and apron of the Minoans along with a bare-breasted bodice. They are also shown prominently with snakes, quite possibly as a part of the household cult of the Snake Goddess (see Minoan Religion).

Works in Stone
Vessels of various forms and types made of stone have also been found. Serpentine was a commonly used stone for such purposes because of its softness. Some vases are decorated with scenes similar to those that appear on ceramic vessels and in frescoes. One features a scene of bull-vaulting and another one of harvesters in their fields. Highly decorated seals in various shapes and styles were also produced by the Minoan stoneworkers. Perhaps the most intriguing of all stone objects is a vase in the shape of a bull’s head found at Kato Zakro. The openings at the back of the neck and at the mouth suggest that this vessel was used in libation offerings to the gods as a part of religious ritual.

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References

Biers, William R. The Archaeology of Greece. Ithaca: Cornell University Press, 1996.
Dickinson, Oliver. The Aegean Bronze Age. New York: Cambridge University Press, 1994.
Fitton, J. Lesley. Minoans. London: The British Museum Press, 2002.

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For a more in depth treatment of Minoan art see the following:
Higgins, R.A. The archaeology of Minoan Crete. London: Bodley Head, 1973.
Higgins R.A. Minoan and Mycenaean art. London: Thames and Husdon, 1981.
Hood, M.S.F. The arts in prehistoric Greece. London: Penguin, 1978.

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