scholarly journals Review and New Evidence on the Molluscan Purple Pigment Used in the Early Late Bronze Age Aegean Wall Paintings

Heritage ◽  
2021 ◽  
Vol 4 (1) ◽  
pp. 171-187
Author(s):  
Sophia Sotiropoulou ◽  
Ioannis Karapanagiotis ◽  
Konstantinos S. Andrikopoulos ◽  
Toula Marketou ◽  
Kiki Birtacha ◽  
...  
Keyword(s):  
Bronze Age ◽  
High Performance ◽  
Array Detector ◽  
Published Data ◽  
Late Bronze Age ◽  
Wall Paintings ◽  
Purple Pigment ◽  
Textile Dyeing ◽  
Reported Data ◽  
Early Late

The production and use of the pigment extracted from the murex molluscs is discussed here in association with the purple textile dyeing industry in the Prehistoric Aegean. “True” purple has been identified in a number of archaeological finds dating from the early Late Bronze Age, found in old and recent excavations at three different but contemporary sites: Akrotiri and Raos on Thera, and Trianda on Rhodes. The chemical composition of the shellfish purple pigment either found in lump form or applied on wall paintings is discussed in relation to the archaeological context of several examined finds and with reference to Pliny’s purpurissum. The results of a comprehensive methodology combining new data obtained with molecular spectroscopies (microRaman and FTIR) and already reported data obtained with high performance liquid chromatography coupled with a diode array detector (HPLC–DAD) applied to samples of the murex purple finds are discussed in comparison to published data relating to few other instances of analytically proven murex purple pigment found in the Aegean over the timespan of its documented exploitation.

Advanced Geometric Guides Were Used for the Drawing of Celebrated Late Bronze Age Wall Paintings

2018 ◽  
pp. 579-589
Author(s):  
Panagiota Tsakalidou ◽  
Dimitris Arabadjis ◽  
Constantin Papaodysseus ◽  
Michalis Exarhos ◽  
Panayiotis Rousopoulos ◽  
...  
Keyword(s):  
Bronze Age ◽  
Late Bronze Age ◽  
Wall Paintings

A Digital Investigation Manifesting use of Geometric Stencils for the Drawing of Akrotiri Thera Prehistoric Wall Paintings

2011 ◽  
pp. 64-145
Author(s):  
Panayiotis Rousospoulos ◽  
Dimitris Arabadjis ◽  
Mihalis Exarhos ◽  
Michail Panagopoulos ◽  
Georgios Galanopoulos ◽  
...  
Keyword(s):  
Bronze Age ◽  
Curve Fitting ◽  
Digital Images ◽  
Late Bronze Age ◽  
Wall Paintings ◽  
Main Hypothesis ◽  
Fitting Method ◽  
Digital Investigation ◽  
Curve Fitting Method ◽  
The One

The present chapter deals with the problem of determining the method used to draw several celebrated and beautiful wall-paintings belonging to the Late Bronze Age (c. 1630 B.C.), that were excavated at Akrotiri, Thera, Hellas (Greece). First, the authors process the wall paintings’ digital images in order to extract the contour of their main thematic entities. Subsequently, a number of fundamental definitions are given and the main hypothesis is stated, namely that geometrical stencils were used for the drawing of the considered wall paintings. A first estimation of the probable one stoke parts of the contour is undertaken, based on curvature considerations and minimization of corresponding error functions. Next, they select families of geometrical curves as potential prototypes of the employed stencils. The selection is based on archaeological and historical criteria. A novel exhaustive curve fitting method is introduced that offers unambiguously optimal matching of two digital curves. Taking into consideration the previous stages, the exact values of the stencils’ parameters are determined. Finally, the hypothesis that stencils were used for the drawing of the considered wall paintings is supported substantially by a visual representation of the one stroke parts together with the corresponding stencil segments that generated them.

REPRESENTING, OBJECTIFYING, AND FRAMING THE BODY AT LATE BRONZE AGE KNOSSOS

2013 ◽  
Vol 56 (1) ◽  
pp. 1-25 ◽  
Author(s):  
ELLEN ADAMS
Keyword(s):  
Bronze Age ◽  
The Body ◽  
Late Bronze Age ◽  
Complex Relationship ◽  
Wall Paintings ◽  
Human Form ◽  
The World

Abstract This paper explores how the human form is depicted, objectified and contextualized, in order to clarify the complex relationship between ‘representation’ and ‘reality’, and to investigate the various ways the body is bounded. Part one argues that objectification is not always a passive process, but that the body is deliberately presented to the world to be observed and evaluated. Part two focuses on the configuration of bodily boundaries, and how the body is framed, for example, by clothing, architecture and the mortuary context. The wealth and range of evidence (wall paintings, seals and sealings, figurines, stone vases and burials) render Knossos an excellent case study for this approach. This paper asks not who the Knossians were, in terms of identity and ethnicity, but rather how they wanted to be presented to the world and each other.

The Later Bronze Age in Ireland in the light of recent research

1964 ◽  
Vol 30 ◽  
pp. 268-351 ◽  
Author(s):  
George Eogan
Keyword(s):  
Great Britain ◽  
Bronze Age ◽  
Late Bronze Age ◽  
First Millennium ◽  
Middle Bronze Age ◽  
Early Late ◽  
The Bronze Age

The term ‘Later Bronze Age’ is being used in this paper to cover that period of the Bronze Age in Ireland that started around 1200 B.C. and continued on until supplanted by iron-using cultures during the second half of the first millennium B.C. This term provides a means of escaping from the nomenclature that is applied to the period covering the last two centuries of the second millennium B.C. and the beginning of the first millennium B.C., a phase considered by some as a late Middle Bronze Age and by others as an early Late Bronze Age. Here both terms are being avoided and the period is called the ‘Bishopsland Phase’. This is followed by the ‘Roscommon Phase’ of roughly the 9th and a large part of the 8th centuries B.C. Finally comes the ‘Dowris Phase’. It is hoped that this new terminology will allow the Irish material to be more readily incorporated in any future overall scheme for the Bronze Age in Great Britain and Ireland. The Middle Bronze Age in Ireland is here restricted to cover approximately the 14th and 13th centuries B.C.

scholarly journals DATA FOR RECONSTRUCTION OF TEXTILE TECHNOLOGIES AND SOME ELEMENTS OF LATE BRONZE AGE AND EARLY IRON AGE CLOTHES IN THE SOUTHERN AREA OF THE BALTIC SEA

2020 ◽  
Author(s):  
К. Слюсарска
Keyword(s):  
Bronze Age ◽  
Iron Age ◽  
Social Practices ◽  
Early Iron Age ◽  
Published Data ◽  
Late Bronze Age ◽  
The Baltic Sea ◽  
Textile Production ◽  
Human Figure ◽  
The Baltic

Для некоторых времен и регионов у археологов не так много возможностей по изучению костюма древних эпох. Костюм – это мощный инструмент общения, регулирования или формирования социальной практики. Кремация как погребальная традиция эпохи поздней бронзы сопряжена с отсутствием прямых источников для реконструкции одежды. Ситуация меняется во время раннего железного века с появлением новой погребальной традиции (лицевых урн) с представлением фигуры человека. Основной целью исследования является сбор опубликованных и рассеянных в литературе данных для реконструкции текстильной продукции и некоторых элементов одежды позднего бронзового и начала железного века из со­временной Польши. For some times and regions, archaeologists have little chance of studying the costumes of past societies. The costume is a powerful tool for communication, regulation or formation of social practices. Cremation as a main funeral tradition of the Late Bronze Age destroyed all direct sources for clothes reconstruction. The situation changed a little during the transition to the Iron Age with the advent of the new funeral tradition (facial urns) and the representation of a human figure. The main purpose of this paper is to collect the published data of the Late Bronze Age and the Early Iron Age of the southern Baltic Seabasin for reconstruction of textile production and identification some gender-related elements of costume.

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