The human body in Minoan religious iconography Author(s): Anna Simandiraki-Grimshaw Source: British School at Athens Studies, Vol.

18, CRETAN OFFERINGS: Studies in honour of Peter Warren (2010), pp. 321-329 Published by: British School at Athens Stable URL: http://www.jstor.org/stable/23276788 . Accessed: 01/04/2014 03:28
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

British School at Athens is collaborating with JSTOR to digitize, preserve and extend access to British School at Athens Studies.

http://www.jstor.org

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

31

The human religious

body

in Minoan

iconography*

Anna Simandiraki-Grimshaw

INTRODUCTION of much body has been the subject in often scholarship Aegean Prehistory. Numerous, surrounded the debates have vociferous, represented human body, especially trying to establish its meaning, The human and cosmological significance in what are perceived as religious contexts. However, studies often conflate the meaning of bodies from religious identification

of aspects of Classical religion and ritual to examine human bodies in the prehistoric Aegean is an unavoidably distorting interpretative lens, which may obscure important aspects of prehistoric corporeality use Taking Minoan Crete as an example, I firstly discuss the human body and the identification of religious I make a case for several Secondly, iconography. overlooked investigative lenses, which can perhaps

and non religious contexts, different localities, different eras and different socio-economic milieux.1 Further more, it is the contention of this author that the frequent

the scope of this paper), some can be offered here, iconographic glimpses preliminary from a dataset of Cretan drawn frescoes, mainly glyptic, figurines and vessels of the third and second millennia (hence beyond glimpses point to several different con ceptualisations of the human body, dependent on time, location, clientele, medium, use, association etc. For example, the body as whole or as parts; as the member BC. These of a collective; as healthy, ageing, ailing,6 transformed, defaced, ecstatic anatomy. The second question one needs to ask is, 'What gives iconography a religious character?' To answer this, one

predominantly explicit in the fields of sociology, cultural studies, anthropology, philosophy and most Nevertheless, recently archaeology.5 although con of the Minoan human body are the ceptualisations subj ect of a much larger proj ect conducted by the author

what the human body is to a post-modernist exploration of what a human body may be. This shift has been

arsenal. In doing so, I use improve our methodological the term 'Minoan body' not as a reductionist construct, levelling the incredible somatic variety available, but

would turn to a) the contexts of this iconography, with their associated cultic structures and equipment; and b) 'religious' elements depicted in this iconography.

between religious personages, clearly distinguish and or even chart the bodies,2 religious non-religious semiotics of corporal representation and interpretation. than I answer. I deliberately pose more questions Rather, I aim to offer some theoretical stimuli towards a more holistic and nuanced exploration of Minoan religious corporeality and hope to expand upon recent relevant explorations.3 WHAT IS A BODY?

as a term encapsulating physical, iconographic, discursive and cognitive aspects of what corporeality is archaeologically traceable. The overall purpose of this brief, exploratory paper, therefore, is not to identify

I chose

this subject

in recognition intended

of Peter Warren's Bronze PhD

invaluable But

contribution

to the study of Aegean during my MA,

Age religion.

this paper is particularly to him as mentor:

as a small token of gratitude studies and beyond,

and he has taught me the meaning of scholarship, patience dignity in archaeological practice. I also owe my sincere thanks to Nicoletta Momigliano for inviting and me and Olga Krzyszkowska, in the Bristol to this respectively, Colloquium volume 1 2 3 As Alberti to participate

for the opportunity 101) and Briault in inverted

to contribute

of offerings. (2002, (2007a, commas Morris 20026; 241) throughout 2001; Morris point out. the and et al.

I use the term religious paper in recognition 1997; 2002; E.g. Kyriakidis Peatfield

of this. Wedde 1999; 2002a; of gender, Hamilakis

WHAT

IS RELIGIOUS

Hamilakis

ICONOGRAPHY? The first question one needs to ask is 'what was the Minoan concept of a human body?' The modernist, 20th century CE somatic notions, still largely prevalent in studies of Aegean prehistory,4 may not reflect what the case was in prehistoric Crete. Indeed, this discussion belongs to a wider shift from a positivist certainty of
4

2002.
E.g. modernist notions pollution, hybridity, here) 2000. cannibalism, 5 E.g. (bypassing Fraser and Greco eta/. 2002; 6 Cf. Rethemiotaki Boric Traostalos trance. the huge work of Foucault 2007; female 2005, 95. Turner 2008; 2008; with andRobb Meskell and Bourdieu 1994; 1997; leg: Hamilakis 1998;

Cooey

swollen

Dimopoulou

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

ANNA SIMANDIRAKI-GRIMSHA

But, I would argue, the strongest indicator is the human body itself, which identifies and is identified by a scene as religious. In fact, most depicted bodies are deemed

because extraordinary they represent religious of what we consider must have been occurrences facial somatic e.g. lacking ordinary templates: within a ritual context, even characteristics, appearing

physical, social and emotional affordances that the palimpsestic nature of religious corporal iconography may have had on its authors/users. And they conflate with the depicted body (e.g. the 'Snake Goddess')

hybrids of human and representing mind-boggling animal anatomies. Or they are doing what we consider as unusual things: e.g. hailing each other, giving birth, flying, asserting themselves while half-naked, master ing several creatures (real or fictitious), gesticulating, spilling liquids. The examples of religious corporea lities which I will use in the following sections will abide

contemporary real-life bodies (e.g. women's physicality in MMIII),12 with its audiences (e.g. women and their status in Minoan societies in general) and with its performativity (high quality of depiction must mean a focal position in a temple). I believe that we need to from each these layers of iconography disentangle and in order to avoid other, confusing generalising assertions and gain more insights about their potential Thus, in the next two meaning and significance.13

by these two broad rules of identification.

Three main problems arise here: 1. we do not have the whole story, i.e. we lack the of that a contemporary cultural understanding these depictions would have used to complete the 2. 3. scenes; we examine them as disembodied experiences; we still knowingly use extraordinary depictions about ordinary human to create generalisations corporealities. In order to address any of these, one needs to emphasise iconography is a palimpsest:7 depiction (content), depicted (original anatomy/ies or ideas), medium of depiction, trope of depiction, author and

bodies sections, instead of approaching 'religious' primarily through the lenses of form (e.g. figurines) or theme (e.g. women),14 I will give priority to the overlapping lenses of depiction modes, performativity, absence and containment.

DEPICTION Physicality

TROPES

and qualities trying to assess the physical affordances of a somatic depiction, it is important to consider not only the processing properties of a medium (e.g. its durability and malleability), but also When properties of this medium (e.g. colour, luminosity,15 weight, odour, temperature, texture, fla mmability, fragility, weathering). These considerations not are important, as they may have influenced the iconographic

that somatic

audience, performativity of depiction and of maker/ user, cultural biography (and therefore time-depth).8 For example, the larger of the Temple Repositories 'Snake represents a female interacting with snakes. She was presumably modelled either on a real life woman or a cognitive composite of what constitutes female anatomy. The latter may have derived directly Goddesses'9

7 8

Cf. Kyriakidis Cf. Gosden 1986. Alberti,

2007,

301. 1999; Appadurai 1986; Kopytoff Minoan art objects (in this case

and Marshall writing about

the original body/ies). We do not know who the author/ audience was or if they were the same person/people. This human form can be also seen as having particular performative properties when interacting with a maker/ user (also according induces variable see below). to lighting Its light refraction changes its temperature conditions, sensations to a real-life human body

or indirectly from observation and experience of real world human anatomy, but filtered through the interpretative action of (re)creation. The medium of depiction is faience, which may or may not have been related to flesh attributes10 (i.e. the external medium of

corporal qualities between practice' 9 10 11 12 13

highlights that 'the aesthetic and formal depictions), of the objects in question constitute the crucial link concepts (2001, 1999, 2008. and Stevens in preparation. are much too limited for of the body, their representation 190). 97. and social

Panagiotaki Cf. Nanoglou

Simandiraki-Grimshaw The

SeeAlberti'srightfulcriticismofthisconflation(2001,192). scope and length of this paper discussion and as applied embodied to Minoan an extended menological especially to be on the merits and pitfalls archaeological material and of pheno

methodology, is and to

culture. Nevertheless, position biased in order meaningful

I can clarify here that my overall aware of my culturally to examine Minoan cognitive standpoint, to use

methodological ontologically lenses artefactual

exchanging heat with it (e.g. if/when held). Finally, this form had a cultural biography whereby it was made and then fragmented and deposited.11 interpretations of Minoan/Aegean iconography frequently limit discussion of somatic themselves to an unchallenged a textbook illustration with as if these were depictions My point here is that archaeological
14

occurrences,

additional

interpretative as sensory

approach to bodies, Cf.

the iconography not just eyes, criticism

materiality,

in antiquity. of 'relatively elements uncomplicated that make up the aspects'

Alberti's

classification imagery, 15

of the various

no properties other than their two-dimensional Such often overlook the visuality. interpretations

especially 2005,

the iconographic 246.

and symbolic

(2001, 192).
Cf. Zeimbeki

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

THE HUMAN

BODY

IN MINOAN

RELIGIOUS

ICONOGRAPHY

of re only the physical and cognitive experience ligious iconography, but also attitudes towards the 'religious' body. For example, let us agree that the excavators of are correct in assuming that the two clay Anemospilia feet found in the middle room of the temple belonged

Constructs The human

and Limits of the Human

Body

body in Minoan religious iconography displays a rich gamut of constructs, quality and limits. Relevant analysis28 has addressed somatic types, by examining authority, hierarchy and scale;29 and syntax, by examining clothing, headgear, hairstyles, jewellery, nudity, live animals or animal tokens draped over the

to a now lost composite statue.16 The first observation about the physicality of this depicted 'religious' body would be the different media used to constitute it (clay,

What does the combination of bodily concepts? different materials imply about meanings of anatomical parts and the desire variably to materialise specific imagined corporealities?18 If we take a step further, we can also assess that the wood would have had different interactions with a human hand,19 a poured liquid,20 a flame. These may have had a different impact on the of the xoanon as a 'religious' experience body.21 'Embodied

sentation. Perhaps this manufacture was considered as or accompanied by religious action.17 What impli cations might the differential physical, psychomotor action of one body fashioning another have had on

wood) and their different properties in terms not only of sculpting/moulding techniques, but also of invested labour. The physical human body would have been used as a technological tool to create such a corporal repre

16 17 18

Sakellarakis

and Sakellaraki 2004. Foster 1997,138-9. although here: referring 'Meaning

1997,

281-7,

530-9,

40, 530-7.
Cf. Carter Cf. Polinger esp. also 245), relevant Zeimbeki's to the Xeste is ascribed the weaving

figs. 238

comments 3 'Goddess',

(2005, are of

through the allusion or embroidering of metal to paint this shaping

to technological the crocus into animal-shaped images human 19 20 21 Haptic Cf. of lilies theorisation

processes, pendants; on an

in the production

of the cloth; the smelting the act of using pigment One can also medium, between altar.'

apply

to the interaction human.

and shaped experience mixed 1993

of texture, temperature, odour of wood for psychosomatic also embodies cf. Morris

movement? of religious 250. For 2006, mix. It it a

Absorbance, Csordas

and liquid? effects 2001,

experience, discussion 166: does values 'Every

esp,140ff; on synaesthesia, artefact

experience is the starting point for analysing human participation in a cultural world.'22 We therefore need to consider the overall physicality of a 'religious' bodily depiction, not just its visual aspects and effects: its visual stimuli were/are never in actual fact divorced from a complex and multimodal network of sensory

esp. of artefacts, a particular (i.e.

see Howes sensory

so in terms of its production that go into its making), and in its consumption discover in or ascribe The notion here. These with order of their culture 1993,135. relevant to and

the sensory

skills and qualities and uses with the of attention ways that to

in the sensory (i.e. the meanings to it in accordance

presents, people sensory 22 Csordas becomes include

experiences.23 As Alberti puts it, 'the culturally bound aesthetic effects of figurative imagery play an active role in producing and specific conceptualizations embodied experiences.'24 and Scale

or subculture).' of somatic are 'culturally body modes elaborated

of attending

one's

in surroundings the need not

the embodied Minoan

presence

of others' (Csordas this highlights materiality

1993,138). in a

For the purposes approach disembodied embodied 23 Hamilakis way. 2002;

of this paper, archaeological but

Dimensionality Minoan

fashion,

in a cognitive, 2006. '...

sympathetic, in the lived person is can become of reflection' archaeology,

by a (presumably) different audience. The comparative scale of figures in a scene may have carried messages of status,

also perhaps appeals to different audiences moving through different spaces, in comparison, say, to a figurine deposited at a peak sanctuary and experienced

human bodies in 'religious' contexts are represented in two dimensions, low relief, and three dimensions. of the Moreover, some representations human body appear in some media but not in others or there are differences in the modes of depiction. This raises matters of positioning and scale. For instance, a fresco decorates the wall of a room and therefore not only uses different conventions to depict people, but

cf. Merleau-Ponty [...]

world, we do not perceive perceived objects (Csordas studied helpful expect empathic 24 25 26 27 Alberti Stevens Laffineur for us only 1993,149). people become

others as objects.

Another

as another "myself" secondarily,

other persons as the result of Minoan

In the discourses the objects

for our understanding archaeological engagement 2001, 2001. 2007; cf. Morris 2001. 194.

of scholarship. But it is not of a Minoan religious body to to illuminate culture. Minoan

'objectivity' with material

Cf. HafFendenandGoodale2000.AlsoseeAlberti2001,201 02 for a discussion Knossos (haptic spaces of context, access and proximity to the ivory and faience and motor) of the Palace, the 'sensory through 202). 2000; Alberti the with static

perspective, age etc.25 However, further be if one introduces the notions of insights may gained a seal would have required proximity: physical to an almost proximity private religious scene,26 as opposed to the wider user accessibility of a fresco.27 What might this imply about the public/private character of depicted 'religious' bodies?

figurines, highlighting of manoeuvring richly adorned {ibid. German

experience themselves

wall paintings 28 29 E.g. 2001; E.g. Alberti Laffineur

and grand passageways' 1971; 2000 2002; 2001, Lee 388.

by Sapouna-Sakellaraki

and others.

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

ANNA SIMANDIRA

KI- GRIMS HA W

human body. On many occasions, we can detect distinct bodily parts and perhaps markers of gender, investiture and accoutrements, even in depictions where human

frequent bodily segmentation into head and hair, torso, arms, thighs and legs perhaps implies the notional and of the 'religious' body physical compartmentalisation in the Minoan mind. In fact, the physical fragmentation of several

anatomy does not reflect a 'whole'. What is evident and yet has not been adequately studied is that the

Nevertheless, both positions ultimately raise the issue of somatic limits in different ways. If aniconicity implies hallucination, one ought to consider what the intended to convey creator/user about image transcendence of human consciousness and the (ecstatic?) dissolution of heads rather than, say, legs. If aniconicity implies artistic limitations, it still reflects choices in the detailing of certain parts of the human anatomy over others. This might be another indication of somatic compartmentalisation and hierarchy.

artefacts depicting humans (e.g. vessels, figurines) may not only be due to heavy use or taphonomic processes, but may also reveal interactions between physical bodies, depicted bodies, somatic conceptualisations, space, artistic medium and ritual

action.30 And all this even before one starts to address how gender and sexuality are expressed,31 blurred or even deliberately avoided.32 The indexical of the 'religious' representations Minoan

The differential detailing of 'religious' bodies also demarcated somatic limits, especially the meticulous renditions of certain personages.401 would argue that, aside from the reasons of individualism and quality which may lie behind such attention to detail, other elements may be at play here: deliberate ambiguity and abstraction, representational socio-political agendas,41 or even attitudes towards accuracy and its equipment.42 PERFORMATIVITY Although performativity is too large an issue to fully address here,43 I would nevertheless like to propose that we can use this investigative lens in two distinct ways further to illuminate Minoan 'religious' bodies. The first way would of ritual

casually taken as 'shorthand' representations of human bodies watching presumably more important, full bodied individuals. One might argue that the head is the ideal bodily part to use in such Minoan pars pro

body33 also become relevant here in terms of somatic construction. The gendered heads denoting crowds in the Knossos Miniature Frescoes34 are usually

toto somatic depictions, as only this can be discerned in an actual thick crowd. But the fact remains that

the body's identity is simultaneously abstracted, by not representing it in its physical entirety, and concentrated, by using one bodily part as the essence of the whole body. And there are several indexical somatic depictions which use other limbs to signify humans, e.g. arms. This brings us to the notion of the fluid limits of the Minoan 'religious' body.35 The most obvious example

be to examine the human in performativity depicted 'religious' iconography. The second way would be to examine the performativity creators/users and the iconography touched upon earlier in this paper). between (already

30 31

Simandiraki-Grimshaw

and who

Stevens

heterosomatic fusion, whereby animals, animal parts or animal effigies are draped over the human body, but the latter remains distinct. There are also occasions of homosomatic fusion, whereby animals are grafted onto the human body (and the other way round). In the (rather extreme) case of the 'Zakro Master',37 components of the human body were often taken apart, like the limbs of a modern doll, were mixed and matched with animal elements, and were thrown even psychedelic, together in reconceptualised, combinations of human and animal 'natures'. This may be indicative of Minoan

is the case of animal-human hybrids, which display different degrees of fusion (and therefore transcend ence of human physicality).36 There are occasions of

1995.
Cf. German of whole simultaneous emphasis 103). 32 33 34 35 36 37 38 Also 2000, points human bodies is sometimes

in preparation;

Rehak

out that gender sexual e.g.

in depictions through and (2000, organs

constructed breasts

concealment see Marinatos model 2007. 1995.

of primary sexual 1995. organs,

on secondary

Cf. the Kamilari offerings Also I will Cf. Kyriakidis

with unsexed

personages 2005, 171).

receiving

(Dimopoulou-Rethemiotaki

see Marinatos not address

fragmentation in press.

as an indicator

of human publication.

body limits here, as this merits an entirely separate Simandiraki-Grimshaw Weingarten Morris 2001, 1983; Simandiraki-Grimshaw

in press.

ontology and possession a paranormal sense). Aniconicity can also, in my opinion, be considered demarcation of the limits of the Minoan 'religious' body. Morris has argued that the aniconic heads of several human forms may imply hallucination,38 but Kyriakidis has counter-argued that aniconicity need not necessarily be due to religious but to practical reasons.39

of humanity, concepts (in both a hierarchical and

39
40 41 42 43

Kyriakidis2004.
See Polinger (with extensive

esp. 245. 1997 Also on the issue Hall 1997 and of visage esp. and likeness 127).

Foster 1997.

bibliography

throughout,

Cf. Hitchcock for alerting Cf. Briault's transmission. Cf. German 2002; Berg

(I thank T. Grimshaw redundancy 2001; in ritual Turnbull For gender 193-4.

me to this reference). (20076) 2000, 2004; 104; resolution Pearson 2005;

and Shanks Mitchell in Alberti

German

2006. 2001,

as performance,

see discussion

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

THE HUMAN

BODY

IN MINOAN

RELIGIOUS

ICONOGRAPHY

Performativity in Minoan

'religious'iconography

Several scholars have hypothesised that bodily postures in Minoan religious iconography imply a range of activities: Interactions of humans with other humans, super natural and built humans, artefacts, animals,
environments;44

Degrees

of interaction:

coexistence,

proximity,

is the depiction of pregnant females and/or birthing scenes,51 which deserve further examination, beyond their potentially supplicatory role. They may have been intended as portrayals of an unusually changed and open human body, about to spring an additional being And their rendition only in three into existence. dimensional media may have carried ideological connotations. Similarly, extremely rare sexually

Two performative motifs are worth our attention at this point, as they are often overlooked in favour of more unambiguous ones. These are the motifs of 'body shock' and corporal time. One example of'body shock'

liminality, engagement; Gendered and often segregated types of interaction (e.g. subordination).45 And, I would argue: Scenes of mythical action;46 And hallucinogenic (?) visions.47 But if certain scenes, postures, hierarchies or modes of 'religious' bodily action are indeed repeated, I believe we need to steer away from the temptation to arrange them in a continuum of religious narrative. somatic Such scenes may also represent acceptable from artisan textbooks, the rubrics reproduced existence of which we suspect from the ways some motifs were transferred across dimensional media.48 These

excited52 or ailing bodies were perhaps intended as portrayals of conditions outside the 'norm', as a 'body shock' of a different type, and that is before we even

most obvious marker of which is age. This is denoted in three standardised ways: a) by physical attributes, e.g. baby anatomies and movements, ripe breasts; b) constructs of age, e.g. head hair by cultural

consider questions of gender, age and status. The other performative motif is corporal time, the

epics, ideals or abstractions. One way to approach such performative iconography, therefore, is not to overly rely on one medium (e.g. gold rings) or one theme (e.g. flying) where active 'religious' bodies are encountered, but to combine such research

two- and three scenes may represent the and pre owner's/user's/artisan's taste, imagination ferences and nothing more. They may refer to secular rather than religious rituals. They may depict fairytales,

manipulation (locks, beards); and c) by association of with certain and certain environments ages So, the age snapshot and the depth of engagements. time are denoted in this way, perhaps alluding to rites of passage, life stages etc. Corporal time is, however, additionally subtly marked by implied movement in 'religious' iconography53 and there is value in interpre consecutive of multiple human scenes as representing or parallel movement. For example, on the

tations

draw Age and subsequently chthonic beliefs conclusions regarding (unchanged?) and the connection of females to the underworld. one could further contextualise such However, Bronze

more proactively with the notion of performance clusters.49 For example, one may wish to examine the occurrences of snakes on female anatomies throughout the Cretan

upper half of the Harvester Vase,54 the processing crowd denotes synchronised, aligned, spatially regular marching, punctuated by song and sistrum. Within this seemingly homogeneously flowing scene there are two

44

E.g. Morris regarding Berg 2004,

2001,

esp. 248ff. where she sustains asymmetry 2000. in gesticular

an argument iconography;

performative esp. 28-30. 1995;

in their socio-political occurrences performative milieux. To revert to the Temple Repositories 'Snake Goddess' example, it is not enough to note her hetero somatic hybridity with snakes, and to connect her to previous and subsequent of human depictions

45 46 47 48

Marinatos

German

E.g. the gold Rethemiotaki Cf. the 'Zakro Cf. Walberg touches media, upon e.g.

rings 2005, 1985;

from Archanes-Phourni 127 top) and Poros sealings Blakolmer 1999. (ibid.,

(Dimopoulou 128 top). 1983). Foster tropes a valid also across

Master'

(Weingarten of depiction Morris makes

Polinger

the transcendence 134. Morris 2001.

does her context compare with other findspots of other human-snake complexes?50 Finally, what is the of the lacunae between the surviving significance

snake interaction. Was the 'Snake Goddess' typical or atypical of the contemporaneous religious per formances in depictions and/or sites from the area of Knossos or the rest of Crete? What degree of intimacy did her visibility and tangibility command? And how

1997, 1999;

49

Cf. Wedde about

point as

the usefulness proxemics

of adopting and haptics seated

such sociological (2001, 247). from forthcoming. (?)

lenses

kinesics, 50 51 Cf.

Simandiraki-Grimshaw the Protopalatial and

and Stevens

monkey

Phaistos

(Dimopoulou-Rethemiotaki2005,102; pi. 35) Gournia 52 53 German the Postpalatial 105-09. (?) female 104). (Dimopoulou-Rethemiotaki 2000,

Polinger anthropomorphic 2005, 94).

Foster 1982, rhyton from

depictions? By looking at performativity in combina tion with each milieu and site, we may thus reach a better understanding of the fluctuating renditions, significance and even ideological manipulations of the 'religious' Minoan body.

Cf. the swinging Rethemiotaki Kanta 1998,100-01; Foster

from Ayia Triada

(Dimopoulou 2005,186

2005,

54

Dimopoulou-Rethemiotaki 1997, 134.

9; Polinger

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

ANNA SIMANDIRAKI-GRIMSHA

temporal and thematic interruptions. A short-term humorous anomaly occurs around a fallen youth (this is perhaps a Minoan expression of bathos). On the other

hand, a long-term punctuation is expressed by the gap of age and appearance between the young, half-naked homogeneity of the procession, and the elderly, fully covered individualism of the procession leader. Performativity of Minoan The other side between 'religious' iconography is the and the

particularly apparent in the interpretation of depicted and actual ritual action. The Minoan 'religious' body in absentia includes depictions denoting, but not actually showing the human body. For instance, the faience effigies of female becomes clothing from the Knossos Temple Repositories61 outline contours of the female human body which would probably not have been the case with a real

of somatic

performativity

relationship 'religious' iconography human beings who made and used it. For the sake of this argument, I subscribe to the idea that both parties (the Minoan human beings and the iconography) had agency, hence my use of the term 'interaction'.55 As

(empty) dress. They even leave space for the low, open characteristic of the similar attire of the cleavage The point about the associated 'Snake Goddesses'. a religious scene also applies physical body completing

here (see immediately above). The Minoan 'religious' body was also contained or a container.62 Three instances of the former are two cups from Archanes containing a human figure each,63 and a bowl from Palaikastro containing a shepherd and flock.64 What was the significance of the containment of the human form there? And would this be animated if other contents were added? The few known anthropomorphic vessels, instances of the human body as container,

noted above, I believe we need to study Minoan 'reli gious' iconography and its depiction of and relationship to the human body not through a static, museum exhibition lens, but from an embodied, experiential perspective.56 iconographies

For example, different religious would have demanded different creative

different physical movements of performances, preparation and execution.57 They also would have the played on different sensory agency between embodied viewer and the depicted, two- and three dimensional bodies. In fact, the presence of physical bodies would have completed now incomplete religious iconography. The Knossos Miniature Frescoes58 were perhaps designed as more than visual renditions of far-away humans. If

in the have mostly been connected bibliography with 'precious' liquids (water, milk65) and probable libation rituals.66 However, we also ought to examine if the whole or part of the body was con ceptualised as a container; what the original model

the room(s) they adorned was/were crowded in real life, with all the body heat, smells, flickering lights and echoes this may have entailed these frescoes would have created a compelling spatial, synaesthetic illusion

55

Cf. Alberti 1972;

2001,

191; 1990.

Mitchell

2006,

esp. Also

390-1;

Hymes with to in of in

Goffman

I thank T. Grimshaw and Goffman. 2002.

for introducing compare

me to the works Warren's 56 Cf. Morris consider this case (1988) and 'cultural

of Hymes framework. Peatfield

of a much bigger crowd. In this, we ought to factor the variable build, age and potential eye conditions of the viewers. Similarly, if the steatite bull's head rhyton from the Knossos Little Palace59 was indeed used for libations, the physical human body holding its low relief mane, its muzzle or, more likely, its horns would have been the necessary 'live' part of an embodied religious iconography (e.g. imitating bull grappling). Lastly, a 'religious' scene worn on a finger presumably 'came It would become alive'. a beacon drawing visual attention to a living bodily part. It would have animated 'negative' bodies

In fact, it is not enough experience' bodies alone, religious (Csordas

patterning 'the

of bodily

the renditions but also

of Minoan

and even

their actions, meaning

intersubjective and modern

constitution 1993, 140-1), human

through

that experience' of ancient bodies.

this case the interaction and the(ir) 57 Including haste revision depiction, 1997, 58 59 60 61 Hagg, Rehak depicted paint

beings strokes,

provision,

grid-laying, dried from several consultation,

paintbrush paces away

before

the plaster

out, larger

arm movements, from the Foster cf. Polinger

of the scene/body perhaps textbook 136-7. 1985; 1995. 2007. 81-3, 59-62; Cameron

1987.

through its constant interplay with static, light.60 It would have created temporary, practical, 'positive' bodies when pushed into wet clay.

cf. Stevens Evans

1902-03, 1993,

figs.

58,

63;

Evans

1921, 113.

506; Alberti

This may tell us something about the manipulation and transfiguration of a depicted 'religious' body by a one vice (and versa). physical ABSENCE AND CONTAINMENT

Panagiotaki 2001, 62 200;

Panagiotaki

1999,101-03; 2005, 540-1;

Dimopoulou-Rethemiotaki and Sakellaraki 1997,

E. g. Sakellarakis Sakellarakis

Jones 2008; 548.

Simandiraki2008, 34; cf. Hamilakis et al. 2002, 11.

63 64 65 and Sakellaraki 1997, 547, figs. 546, 2005, 73. Dimopoulou-Rethemiotaki E.g. the female rhyton with perforated (Marinatos For 66 Simandiraki E.g. 1993, 2008, a discussion Sakellarakis of lactation 34. and Sakellaraki 1997, 540-1. as

In my opinion, it is not enough to consider the human body in Minoan 'religious' iconography as an obvious, integral anatomical entity. Two issues to also consider are its absence and containment. Their importance

breasts

from Mochlos 2005, 37). see

15; Dimopoulou-Rethemiotaki liminal

corporeality

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

THE HUMAN

BODY

IN MINOAN

RELIGIOUS

ICONOGRAPHY

anatomy.67 Finally, how such a three-dimensional depiction of a containing human body would have been manipulated by the anatomy of a physical human body for e.g. filling, decanting, drinking or spilling. PRELIMINARY

would have contained (e.g. bodily fluids); whether the orifices of the vessel correspond to those of the depicted

THOUGHTS

Revisited. Rethinking 'Minoan 'Archaeology. Oxford: 98-117. Appadurai, A., 1986. 'Introduction: commodities and the politics of value', in A. Appadurai (ed.), The Social Life of Things: Commodities in Cultural Perspective. Cambridge: 3-63. Berg, I., 2004. 'Performing religion: practitioners and cult places in Minoan Crete', in T. Insoll (ed.), Belief in the Past: The Proceedings of the 2002 Manchester 27-36.
Conference on Archaeology and Religion. Oxford:

visuality, medium and theme, and instead giving priority to hitherto underestimated and under-utilised discourses. These can be depiction modes (including and corporal physicality limits), performativity, absence investigative

In this paper I have briefly focused on theoretical and methodological aspects of the human body in Minoan 'religious' iconography. My first thought is that I see some value in diverging from the predominance of

Blakolmer, F., 1999. 'The history of Middle Minoan wall

painting: the 'Kamares

V Karageorghis, R. Laffineur and W.-D. Niemeier (eds.), MELETEMATA. Studies in Aegean Archaeology
to Malcolm H. Wiener as he enters his 65th

connection',

in P. P. Betancourt,

year. Aegaeum 20. Liege and Austin: 41-51. Boric, D., and J. Robb (eds.), 2008. Past Bodies:
Centered Research and ritual in Archaeology. transmission Oxford. in the Bronze

presented

Body

and containment, and may prove valuable lenses towards a more rounded of Minoan and understanding religious tangible imagined corporeality. My second, related, thought is that, through such several motifs of Minoan investigation, religious corporeality emerge. These cast the human body simultaneously as a religious stage and performance

Briault, C., 2007a. 'High fidelity or Chinese whispers? Cult Aegean', JMA 20(2): 239-65. , 20076. 'The ultimate redundancy package: routine,
structure, Context: and symbols Age

in D. A. Barrowclough and C. Malone (eds.), Cult in 293-6. Cameron, M. A. S., 1987. 'The "palatial" thematic system
in the Knossos murals. Last notes on Knossos Reconsidering Ritual in Archaeology. Oxford:

the archaeology

of ritual

transmission',

depictions by Minoan phase, an approach which I reserve for a larger publication. 1 do think, however, that concepts and manipulations of the Minoan human body, in religion and beyond, in the physical and the iconographic spheres, did change over time and per site, even though some motifs remained constant.68 It is
therefore hoped that future research will address such

more detail in the near future. My final thought concerns the historical variations of the Minoan body in 'religious' iconography. I am indeed guilty here of not examining 'religious'

in the service of memory, socialisation and spirituality. how often do we regard religious artefacts as synaesthetic iconographic memory structures or socially didactic devices? And how often do we consider the reciprocal agency of 'religious' iconography? Such considerations will be explored in For instance,

in R. Hagg and N. Marinatos (eds.), The Function of the Minoan Palaces. Stockholm: 321-8. Carter,T., 2004. 'Transformative processes in liminal spaces: crafts as ritual action in the Throne Room area', in G. Cadogan, E. Hatzaki and A.Vasilakis (eds.), Knossos: Palace, City, State. BSA Studies 12. London: 273-82. Cooey, P. M., 1994. Religious Imagination and the Body: A Feminist Analysis. New York and Oxford.
Csordas, T. J., 1993. 'Somatic modes of attention', Cultural

Frescoes',

Anthropology 8(2): 135-56. Dimopoulou-Rethemiotaki, N., 2005. The Archaeological Museum of Herakleion. Latsis Foundation. Athens. http://www.latsis-foundation.Org/en/elibrary/l/27/ book.html. Evans, A. J., 1902-03. 'The Palace of Knossos. Provisional report for the year 1903', BSA 9: 1-153.
, 1921-35. London. The Palace of Minos at Knossos I-IV

fluctuations in two ways: firstly, by closely charting temporal and geographical occurrences across media and themes; and secondly, by examining the relationship between the physical, the depicted and the implied body.

Fraser, M., and M. Greco (eds.), 2007. The BodyA Reader.

Oxford. German, S. C., 2000. 'The and human Remains form in the Late Bronze

Age Aegean', in A. E. Rautman (ed.), Reading the Body:

Representations

REFERENCES Thinking through the Body and S. Tarlow (eds.), = Y. Hamilakis, M. Pluciennik Thinking through the Body: Archaeologies of Corporeality. New York (2002).

Record. Philadelphia: 95-110.

German, S. C., 2005. Performance,

in the Archaeological Power and the Art of the

Aegean Bronze Age. BAR-IS 1437. Oxford. Goffman, E., 1990. The Presentation of Self in Everyday Life.

Alberti, B., 2001. 'Faience goddesses and ivory bull-leapers: the aesthetics of sexual difference at Late Bronze Age Knossos', WorldArchaeology 33(2): 189-205. , 2002. 'Gender and the figurative art of Late Bronze in Y. Hamilakis (ed.), Labyrinth Age Knossos',

Cf. Mitchell 2006, 391.

Cf. the human-snake motif discussion above.

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

ANNA SIMANDIRA

KI- GRIMSHA

Gosden, C., and Y. Marshall, 1999. 'The cultural biography of objects', WorldArchaeology 31 (2): 169-78. Haffenden, A. M., and M. A. Goodale, 2000. 'Independent effects of pictorial displays on perception and action', Vision Research 40: 1597-607. Hgg, R., 1985. 'Pictorial programmes in the Minoan palaces and villas?', in P. Darcque and J.-C. Poursat (eds.), 209-17. Hall, S. (ed.), 1997. Representation: Cultural Representa tions and Signifying Practices. London. and experience: Hamilakis, ., 2002a. 'Embodiment introduction', in Thinking through the Body. 99-103. 'The past as oral history: towards an , 20026. archaeology of the senses', in Thinking through the Body. 121-36. Hamilakis, ., M. Pluciennik and S. Tarlow (eds.), 2002. Thinking through the Body: Archaeologies of
Corporeality. New and York. L'Iconographie minoenne. BCH Suppl. 11. Paris:

W.-D. Niemeier (eds.), POLITEIA. Austin: 577-85.

Merleau-Ponty, M., 2006. in the Aegean Bronze Age. Aegaeum

Society and State

12. Liege and

Transl. by C. Smith. London and New York. Meskell, L., 1997. 'The somatisation of archaeology: institutions, discourses, corporeality', Norwegian Archaeological Review 29(1): 1-16. , 1998. 'The irresistible body and the seduction of archaeology', in D. Montserrat (ed.), Changing Bodies, Antiquity. London: 139-61. , 2000. 'Writing the body in archaeology',
Rautman (ed.), Reading the Body: Representations Changing Meanings: Studies on the Human Body in

Phenomenology

of Perception.

in A. E.
and

Hitchcock,
structural

L. ., 1997.

'Engendering
analysis

domination:
of Minoan

contextual

Neopalatial bronze figurines', in J.Moore and E. Scott (eds.), Invisible People and Processes: WritingGender
and Childhood into

113-30.

European

Archaeology.

London:

Howes, D., 2006. 'Scent, sound and synaesthesia, intersensoriality and material culture theory', in C. Tilley, W. Keane, S. Kchler, . Rowlands and P. Spyer(eds.), Handbook of Material Culture. London: 161-72. Hymes, D. H., 1972. 'On communicative competence', in J. B. Pride and J. Holmes (eds.), Sociolinguistics,
Harmondsworth: Jones, B., 2008. for evidence 269-93. 'Anthropomorphic dress or ornament?', vessels at the feasts: in L.

Remains in the Archaeological Record. Philadelphia: 13-21. Mitchell, J. P., 2006. 'Performance', in C. Tilley, W. Keane, S. Kchler, . Rowlands and P. Spyer (eds.), Handbook of Material Culture. London: 384401. Morris, C., 2001. 'The language of gesture in Minoan religion', in R. Laffineur and R. Hgg (eds.), POTNIA. Deities and Religion in the Aegean Bronze Age. Aegaeum 22. Liege and Austin: 245-51. Morris, C., and A. Peatfield, 2002. 'Feeling throughthe body: gesture in Cretan Bronze Age religion', in Thinking through the Body. 105-20. Nanoglou, S., 2008. 'Qualities of humanness: material sspects of Greek Neolithic anthropomorphic imagery', Journal of Material Culture 13: 311-34. Panagiotaki, M., 1993. 'TheTemple Repositories ofKnossos: new information from the unpublished notes of Sir Arthur Evans', BSA 88: 49-91.
, 1999. The and Central M. Palace

Suppl. 31. London.

Pearson, M., Shanks, London.

Sanctuary 2001.

atKnossos.

BSA

R. Laffineur and J. Crowley (eds.), DAIS. The Aegean Feast. Aegaeum 29. Liege and Austin: 39^15. Kanta, ., 1998. Phaistos, Hagia Triadha, Gortyn. Athens. Kopytoff, I., 1986. 'The cultural biography of things: commoditization as process', in A. Appadurai (ed.), The Social Life of Things. Commodities in Cultural Kyriakidis, E., 1997. 'Nudity in Late Minoan I seal iconography', Kadmos 36: 119-26. , 2004. 'Aniconicity in Late Minoan I seal iconography', Kadmos 43: 159-66.
, 2007. evolution A note and on representations in C. and archaeology: and I. interpretation', Renfrew Perspective. Cambridge: 6491.

Hitchcock,

Theatre/Archaeology.

Polinger Foster, K., 1982. Minoan Ceramic Relief. SIMA 64. Gteborg. , 1997. 'Visage and likeness in Minoan art', in R. Laffineur and P. P. Betancourt (eds.), .
Craftsmen, Aegean Rehak, Craftswomen Age. use and Craftsmanship 16. Liege and in the Bronze 'The Aegaeum and Austin: stone

127 40.
P., 1995.

destruction

of Minoan

Morley
Prehistory

(eds.),

Material

Beginnings:

A Global
Cambridge:

bull's head rhyta', in R. Laffineur and W.-D. Niemeier (eds.), POLITEIA. Society and State in the Aegean Bronze Age. Aegaeum 12. Liege and Austin: 435-60. Sakellarakis,Y.,andE. Sapouna-Sakellaraki, 1997. Archanes.
Minoan Crete in a New

303-08.

of Figurative

Representation.

Laffineur, R., 2001. 'Seeing is believing: reflections on divine imagery in the Aegean Bronze Age', in R. Laffineur and R. Hgg (eds.), POTNIA. Deities and Religion in theAegean Bronze Age. Aegaeum 22. Liege and Austin: 387-92. Lee, . M., 2000. 'Deciphering gender in Minoan dress', in A. E. Rautman the Body: (ed.), Reading Record. Philadelphia: 111-23. Marinatos, ., 1993. Minoan Religion: Ritual, Image and Symbol. Columbia, SC. , 1995. 'Formalism and gender roles: a comparison of Minoan and Egyptian art', in R. Laffineur and
Representations and Remains in the Archaeological

Sapouna-Sakellaraki, E., 1971. . Athens. Simandiraki, ., 2008. 'The Minoan body as a Feast', in L. Hitchcock, R. Laffineur and J.Crowley (eds.), DAIS. The Aegean Feast. Aegaeum 29. Liege and Austin: 29-37. Simandiraki-Grimshaw, ., in press. 'Minoan animal-human hybridity', in D. B. Counts and B. Arnold (eds.), The Master of Animals in Old World Iconography. Archaeolingua. Simandiraki-Grimshaw, ., and F. Stevens, in preparation.
'Reconstructed Crete'. identities: a re-examination of the

Light.

Athens.

human forms from the Temple Repositories

Knossos,

from

Stevens, F., 2007. 'Identifying the body: representing self. Art, ornamentation and the body in later prehistoric

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions

THE HUMAN

BODY

IN MINOAN

RELIGIO

US ICONOGRAPHY

Europe', in J.Sofaer (ed.), Material Identities. London: 82-99. Turnbull, D., 2002. 'Performance and narrative, bodies and
movement spaces and in the construction of places Culture and and objects, Society knowledges', Theory,

in P. P. Betancourt, V Karageorghis, R. Laffineur and W.-D. Niemeier (eds.), MELETEMATA. Studies in

Aegean as he Archaeology enters his presented 65th year. to Malcolm Aegaeum 20. H. Wiener and Liege

19 (5/6): 125-43. Turner, B. S., 2008. The Body and Society: Explorations in Social Theory. London (3rd ed.). Walberg, G., 1985. 'Some reflexions on the relations between Middle Minoan pottery and glyptics', in Cretological 5: A', 397-405. Warren,P., 1988. Minoan Religion as Ritual Action. Goteborg. Wedde, M., 1999. 'Talking hands: a study of Minoan and
Mycenaean ritual gesture some preliminary notes',

Austin: 911-20. Weingarten, J., 1983. The Zakro Master and his Place in Prehistory. SIMA Pocket-book 26. Goteborg. Zeimbeki, M., 2005. 'Nurturing the natural: a cognitive approach in the study of the Xeste 3 aquatic imagery', in A. Dakouri-Hild and S. Sherratt (eds.), Autochthon.
Papers Presented to O. T. K. P. Dickinson on the

Occasion 242-51.

of his Retirement. BAR-IS

1432. Oxford:

This content downloaded from 182.185.224.57 on Tue, 1 Apr 2014 03:28:32 AM All use subject to JSTOR Terms and Conditions