Listed 4 sub titles with search on: Archaeological sites for destination: "AKROTIRI Village SANTORINI".
Akrotiri's most significant contribution to our knowledge of the prehistoric
Aegean and Europe in general is its monumental graphic art. The wall-paintings
of Thera constitute the earliest examples of large-scale painting in Greece and
enrich inestimably the history of European art. Their technique is not that of
fresco, for which reason it is not correct to use this term. It seems that the
artist began painting when the plaster was still quite fresh on the walls. He
did not, however, take care to maintain this wet condition. So the wall gradually
dried and the painting was finally made on an entirely dry surface. This is why
the colour often flakes if the modern technician does not manage to fix it with
chemicals. Wherever the painting was made on a wet surface the colour has seeped
in and does not flake.
The plaster on the wall destined to be painted was rubbed whilst
still wet, so that its surface became smooth for the artist's paint brush. This
smoothing seems to have been effected using special sea pebbles. Hundreds of these
pebbles with one or two flat surfaces from the rubbing have been found amidst
the ruins of Akrotiri. The colours which the prehistoric Theran artists used were
red, black, yellow, blue and cream. The latter was usually used as a background.
With these colours the artist painted diverse surfaces both in shape and dimensions.
One of the principal characteristics of the art of Akrotiri is that
the artist had complete command of the space in which he moved unhesitatingly.
He infallibly selected a subject suitable for filling the surface offered by the
arrangement of the area. Door and window jambs, small surfaces of wall between
two such openings, zones which are of necessity created for the opening of cupboards
or windows and finally large expanses of wall, always bear the composition best
suited to their shape and size. A representation of a pithos plant pot with lily
adorned the jambs of the window in the West House. Again in the West House, a
door jamb was apparently decorated by the so-called "Young Priestess." The narrow
surface between the window and the NE corner of Room 5 in the same house was occupied
by the famous Fisherman while another similar painting was depicted in a corresponding
position diagonally opposite. Such a surface--between the two doors--was covered
by the wall-painting of the Boxing Children in the upper story of Room B1. In
Room 5 of the West House the narrow strip of wall under the windows was painted
as an imitation marble dado whilst the zone high above the windows was decorated
with the Frieze of Miniatures. The Frieze with the Monkeys from Xeste 3 must have
been a similar case. But the artists of Akrotiri were not afraid to paint whole
blank walls. The grand composition with the Monkeys was discovered in Room B6,
while three of the four walls of Room 2 were completely covered with the wall-painting
of the Lilies. From the homonymous house came the wall-paintings of the Ladies.
Finally, from Xeste 3 comes an enormous composition of Women Gathering Crocuses.
Even though the character of the wall-paintings from Thera is Minoan,
there is an apparent independence of the artist from the conventions of Cretan
art. Freedom in conception, freedom in design, freedom in composition, freedom
in movement are the characteristics of the Theran wall-paintings. Men, animals,
plants are rendered with such conviction that it borders on naturalism. Purely
decorative subjects rival the pictorial scenes in variety and perfection. These
too were employed to cover all kinds of surfaces. Rosettes, often combined with
rhomboid motifs were also painted on large surfaces, as is the case in Xeste 3.
The ivy branch is an ideal motif for framing the Antelopes from Room B1. The "starry
sky" harmoniously covers the ladies from the Room of the Ladies. In Room 5 of
the West House the "marble" dado underneath the windows is a well-chosen architectural
element. The pithoi plant pots on the jambs of the window and the "cabins" on
the walls of Room 4, again in the West House, are examples of the inventive imagination
of the artists.
Even greater and more impressive is the diversity exhibited by the
narrative scenes. Such is the artist's predilection for variety that he even makes
the landscape narrative through the insertion of some animals. The rocky terrain
with lilies is fixed in time by the presence of the swallows flirting and flying
in daring formations. There must have been some reason why the Monkeys in Room
B6 scrambled hastily upon the rocks. The Landscape with the River and Subtropical
Vegetation from Room 5 of the West House is further enlivened by the presence
of wild or mythical beasts. A wild duck flies to the left, while on the right
bank of the river, almost in flying gallop, a goat runs to the right. Both seem
to have rushed startled from a cluster of palm trees. From the other, the left
bank of the river, a griffin flies to the right in a flying gallop, while a wild
cat stalks the unsuspecting wild ducks sitting on the river's edge. All this movement,
all this activity indicates the artist's intention not merely to paint a landscape
but a wild landscape, far away, yet full of life. The same ruggedness of nature
is to be seen in the landscape above the left city in the Miniature of the Fleet.
In the wood three terrified deer flee the predatory claws of the lion which pursues
them.
In the narrow Frieze from Xeste 3 the narrative is even more vivid.
In a landscape, again rocky, full of crocuses, swallows fly to their nests bearing
food for their chicks who await with open beaks. Blue monkeys complete the scene.
These monkeys are not inert; one of them has drawn his sword and holds the scabbard
in his left hand. Another monkey clasps a harp and is perhaps the musician of
the company.
More narrative, of course, are the scenes in which humans participate.
The two Fishermen from the West House proudly display their catch, holding the
bunches of fish. The so-called Young Priestess from the same house wears a long,
heavy, perhaps woolen, chiton and holds a brazier with glowing charcoal while
sprinkling it, more than likely with incense. Perhaps she passed from room to
room censing it or perfuming the air of the house. This is why she is depicted
on a door jamb. [p. 35]
More animated is the movement displayed by the Boxing Children from
Room B1. Each wears a glove on the right hand and the children are portrayed in
a momentary phase of the game. One has already thrust his gloved hand in an attempt
to strike his opponent. He in turn avoids the blow by shielding with his bare
hand and prepares to strike his own blow with the other.
In the wall-painting of the Ladies the scene is not quite so clear
since many of the pieces are missing. Certain, however, is the movement of one
woman of a somewhat advanced age who stoops slightly to the right and offers both
her hands in an attitude which is not comprehensible. Another figure stood in
front of the bare-breasted one; unfortunately only a part of her skirt is preserved.
A third one, with her breasts covered, is illustrated in an opposite movement
towards the left. She also presents her hands but does not stoop like the first.
All these figures are drawn beneath an arch which delimits the upper surface of
the wall and is filled with stars.
The Miniatures from Room 5 of the West House are narrative too. Unfortunately
we have only fragments from the frieze of the north wall; and yet in these pieces
one can not only observe the technical dexterity of the artist but also his conception
of space and the third dimension. In one group of these pieces we have scenes
which are enacted at three different levels. On the first level, that nearest
the spectator, a rocky seashore is shown and in the sea are three naked men, apparently
drowned. At least so their unnatural attitude would suggest. Also in the water
are three rectangular shields, perhaps one from each drowned man. Only sections
of three ships are shown in the pieces which have survived: the stern of one and
the prow of the other two One prow, however, is in a strange position, reinforcing
the view that the whole scene illustrates a shipwreck, the victims of which were
the three drowned warriors. On the second plane of the painting there are warriors
who, clutching their oblong shields, long spears and wearing the characteristic
Mycenaean helmet of boar's tusks, march towards the right. The tasselled end of
their scabbard projects beyond the back of their shield. On the third plane, high
up, various scenes are taking place. Two shepherds are trying to gather their
different coloured sheep and goats into the pen which is depicted as an elliptical
fence. Two trees at the entrance to the fold ensured shade for the flock from
the summer heat whilst their trunks serve as sturdy gate-posts. Perhaps it is
midday and the shepherds are gathering the flocks into the pen to water them.
For, next to it, on the left of the entrance is a well whose presence is marked
by two upright water pitchers on top of its mouth. Some men are conversing in
front of the well while two women who have already filled their pitchers walk
away: one has balanced the jug on her head and treads lightly with arms outstretched
to keep her balance. The second, [p. 36] who comes from close by steadies the
pitcher with her hands while trying to set it on her head. The scene is not very
different from what happens today in many mountain villages where the well or
water tap is the common meeting place for the villagers. "When you go for water
my Malamo, I loiter at the tap . . ." says a folk song which aptly fits this scene
at Akrotiri.
The best preserved piece from the miniatures from the West House
is the Frieze with the Fleet. Large sailing boats are depicted sailing from one
harbour on the left to another one on the right. Much discussion has taken place
concerning this scene with opinions which differ considerably. Some maintain that
these two ports are in the Aegean where the fleet is traveling. For others, one
city is in the Aegean and the other is in Libya. Some, indeed, even identify specific
Minoan cities in this miniature painting. Regardless, however, of the opinions
of each scholar, there are certain elements which are difficult to refute. First
of all, the representation is narrative, irrespective of whether it portrays a
specific event or not. It states clearly that the ships depart from one city on
the left and arrive at the harbour of the other on the right. The architecture
in both towns resembles that we find in the excavation: multi-storeyed buildings
built of ashlar blocks and at different levels. The Minoan character of the town
on the right is further emphasized by the "horns of consecration" which crown
one of the buildings. These elements, however, are not sufficient to support the
view that specific towns are illustrated. For even if the artist wanted to draw
imaginary places he would incorporate elements with which he was familiar. The
scene, however, has a festive flavour. This is evidenced by the bunting on the
large boat, the "Admiral's" and confirmed by the numerous dolphins which frolic
along the route of the craft. The inhabitants of the left township bid farewell
to the fleet either from the roofs of their houses, or down at the shore, or escorting
it in their little boats. At the end of the voyage the population came out to
welcome the fleet. Here too there are people on the roofs, at the water's edge
and in boats which leave the harbour to meet the fleet.
Certain other elements indicate some uniformity among the sailing
ships of this wall-painting. Firstly it would appear that the passengers on board
are warriors. They have hung their helmets on the pronged pole intended to hold
the lowered mast and lateen yards of the sails. On these same prongs the warriors
have placed their spears too. The captain is also a warrior who sits in his cabin
astern. His helmet hangs high up while his spear projects a long way behind. With
the warriors on board the boats acquire a somewhat martial aspect. Perhaps the
wild beasts which are depicted, sometimes carved on the stern and sometimes painted
on the bows of the ships, are also aimed at expressing this character. The relatively
small sailing boat, the only one depicted with sails unfurled, has a swift-flying
bird painted on its sides. Did the artist perhaps wish to show through the bird
that the ship is a fast-sailing one? [the messenger boat of the fleet?] It is,
anyway, the only boat with two paddles at the stern end, essential for controlling
the movements of a fast boat. Each paddle is operated by a paddler.
All the above elements [the single direction of the fleet, the martial
[p. 38] character of the ships, the messenger vessel] bolster the opinion that
the boats comprise a specific unity, in which case the whole scene may perhaps
refer to a particular event. However, in addition to its narrative character this
wall-painting is also a rich source of unique information. For, apart from information
concerning the architecture, the fauna and flora and the people's apparel, we
have for the first time information concerning the art of ship-building in the
prehistoric Aegean, as well as the manner in which the various parts of the boat
operated [raised masts, sails, paddles, oars, cabins, etc.] Also we gain, indirectly,
an idea of the dimensions of the ship. This is the first time we have representations
of prehistoric ships in a scale which permits the rendering of such details. A
most significant piece of information of historical importance is the armoury
depicted on the boats. Not so much the shields and spears as the helmets, make
us wonder whether the warriors who were using them were not Mycenaeans. Boar's
tusk helmets are usually counted among the accessories of the Mycenaean armoury.
If, however, the warriors in the miniatures of Thera are Mycenaeans then certainly
many of our views on the prehistory of the Aegean around the middle of the 2nd
millennium B.C. will have to be revised. The fact that Mycenaean warriors could
come, even in paintings, so close to Crete means that even in the 16th century
B.C. Crete had begun to lose some of her power and sovereignty in the Eastern
Mediterranean.
The realism which characterizes the wall-paintings of Santorini,
in addition to the diverse information it provides, also verifies that the artists--for
many artists worked at Akrotiri--did not paint abstractly. They depicted specific
personal experiences. Perhaps they themselves had travelled to other lands. Thus
it was not difficult for them to paint convincingly not only the immediate environment
but also exotic animals such as the antelopes. monkeys, lions, wild cats, deer
etc. [p. 39]
External Relations
Even though we have no tangible indications of the external relations
of Akrotiri we are able to infer these. The prosperity which the ruins reveal,
the large luxurious buildings, could not be attributed to the sources of wealth
on the island. The wealth, therefore, must have been derived from elsewhere.
The first, nearest and most important place with which Akrotiri had
close connections was Crete. This is evidenced both by the imported Minoan products
[pottery, stone vessels etc.] and the Minoan character of the art. Perhaps a section
of the population, albeit small, which lived at Akrotiri was Cretan. There are
also indications [mainly through the pottery] of communications between Thera
and Mainland Greece.
Two rhytons of ostrich-egg shells and faience bear witness to relations
with Egypt, even if these were indirect. Further evidence of these contacts are
the wall-paintings showing monkeys. The species of monkey portrayed at Akrotiri,
Cercopithecus, is indigenous to Ethiopia and has diffused throughout the Mediterranean
via Egypt. The Syrian amphora, which was probably not brought empty, is further
evidence of relations with the Eastern Mediterranean.
Of course, we cannot as yet demonstrate that the Therans themselves
journeyed to these far-off lands. However, the miniature "fresco" of the fleet
obliges us not to dismiss this possibility. [p. 56]
The island of Santorini casts a magic spell on those who visit it
whatever their interests or preferences may be. The specialised geologist will
find in the walls of the caldera a unique stratigraphical museum of volcanic provenance.
The vulcanologist and the curious find interest in the dormant volcano. The archaeologist,
the archaeophile and art lovers in general cannot but admire the archaeological
wealth of the island which spans virtaully the entire cultural history of the
Aegean . . . .
Geography and Geology
Santorini is located in the southern part of the Aegan and is the
southernmost island of the Cyclades. Its surface area is 73 sq. km. and its population,
distributed among thirteen vilages, just exceeds six thousand souls. . . . [p.
9]
Historical Outline
Even though some scholars have considered certain sherds from vases
as being Neolithic, it remains a fact that not a single certain sign has been
observed so far which confirms human presence on the island prior to the Bronze
Age. The earliest pottery found in the deepest levels of the quarries does not
seem to be older than the middle of the 3rd millennium B.C., that is belonging
to the second phase of the Early Cycladic civilization [c. 3200-2000 B.C.].
The Catastrophe and the Myth of Atlantis
This happy society of Akrotiri as we know it from its monuments had
an unhappy end. In about 1500 B.C. a terrific eruption of the volcano buried the
whole island beneath a very thick mantle of pumice and pozzuolana. The stratigraphical
observations made in the excavations give us the following picture concerning
the successive phases folloeed by the eruptive process.
Minor earth tremors first surprised the island and warned the residents
to abandon their homes. On leaving they took their valuable with them. This is
why neither victims nor precious possessions have been found in the ruins. More
serious earthquakes followed which caused considerable damage to many buildings.
Then ensued a fairly long period of quiescence during which the people plucked
up courage and returned to the settlement which, meanwhile, had suffered quite
considerable damage. Different teams set to work, some clearing away the ruins
from the streets, others demolishing shaky walls and others repairing and rebuilding
the town. It was during this phase of operations that the actual eruption commenced.
Again, however, the inhabitants had time to evacuate and were not interred within
their city. Fine pumice, about the size of rice grains, fell and created a thin
layer [2-3 cm.] over the entire island. Even though calm prevailed once again
for a considerable period, sufficient time for this layer of pumice to undergo
oxidation, the inhabitants did not return. Perhaps they had left their island
for good. A second paroxysm of the volcano brought forth more pumice, coarser
[4-5 cm. Diam.] which covered the city. This layer reaches a thickness of 50 cm.
in the area of the excavation. The next paroxysm produced a greater quantity of
pumice and of bigger size. The depth of this layer varies from 1-6 metres depending
on the distance from the volcanic crater which is estimated to have been about
10 km. north of Akrotiri. But it was the final paroxysm which was the most devastating.
The eruption was such that immense quantities of material exploded from the crater
of the volcano in the form of droplets. These solidified in the atmosphere and
fell like dust on the island creating a mantle which nowadays exceeds 30 metres
in thickness in places. Together with this dust, huge boulders of basalt were
hurled forth. Some of these boulder-bombs reached as far as Akrotiri and damaged
many houses. We find them today inside the ruins, witnesses of the destruction
they wrought. The enormous quantities of material vomited forth from the bowels
of the earth created a vast hollow. All that remained of the earth's crust collapsed
into this void forming a huge caldera whose extent exceeds 83 sq. km. Into this
void surged the sea transforming what was left of the island into islets, the
present-day Santorini, Therasia and Aspronisi. The consequences of the eruption
must have been terrific, not only for Thera but also for the whole of the Aegean
and for Crete. [p. 60] [
Doumas, Christos, Santorini, A Guide to the Island and its Archaeological
Treasures. Athens: Ekdotike Athenon S.A. 1995. [Christos Doumas is Professor of
Archaeology at the University of Athens, Director of Excavations at Akrotiri.]
Replacement of the shelter - conservation, arrangement and enhancement of the
archaeological site at Akrotiri Thera
Archaeologist - Director of the excavation: Prof. Chr. Doumas, Architect: N. Fintikakis
WebPages of Heliotopos hotel & convetion cente
Region: Cyclades
Periods: Middle Bronze Age, Late Bronze Age
Type: Settlement
Summary: Cycladic Bronze Age settlement destroyed by volcanic eruption.
Physical Description:
The site of Akrotiri is located in the SW of the island of Thera,
above a sheltered S facing bay and with a view to Crete, ca. 110 km to the S.
The Bronze Age settlement (over 10,000 sq m) was at the zenith of its development
when it was completely buried by ash and pumice following a volcanic eruption
(dated at ca. 1500 B.C.) that has been estimated as 4 times as powerful as the
Krakatoa eruption of 1883 A.D. The extensive architectural remains and well preserved
wall paintings have led to a comparison with Roman Pompeii. The destruction may
have given rise to the Atlantis myth.
Description:
The earliest evidence for settlement at Akrotiri dates to the Early
Bronze Age II and III periods. The pottery and artifacts of this phase show connections
to the N Aegean islands.
In the Middle Bronze Age the size of the settlement expands and artifacts
now show closer connections with Mainland Greece. The 1st Minoan influence is
also seen at the site in this period. The transition from Middle Bronze Age to
Late Bronze Age passes with no cultural break, but was marred by an earthquake
(at ca. 1550 B.C.) which caused great damage to the settlement. The inhabitants
apparently rebuilt their city immediately and in an even more luxurious and larger
scale.
The size of the Late Bronze Age I settlement is estimated to have
been several thousand inhabitants. The wealth and size of the city, with paved
streets, city sewer system, and 2 and 3 story private houses with magnificent
wall paintings, indoor toilets and rich furnishings certainly equalled or surpassed
the level of culture and wealth on Minoan Crete. The settlement at Akrotiri probably
gained this high degree of wealth and culture through its foreign contacts and
its position in the center of the Aegean trade networks.
At ca. 1500 B.C. earthquake tremors again caused damage to the city.
There is evidence that immediately afterwards the inhabitants began again to clean
up debris and repair the damage. Before the repairs were completed, however, the
inhabitants were forewarned (possibly from gas or smoke from the volcano) of the
coming eruption (no human remains or valuables have been found during the excavations).
The eruption buried Akrotiri under 5 m of ash and pumice. At least 200 years passed
before the island of Thera was again inhabited, and there is no evidence for a
settlement on the island again until the Archaic period.
Exploration:
Exploration began in 1845 and systematic excavations were carried
out 1895-1903, then resumed after WWII under S. Marinatos and up to present under
C. Doumas.
Donald R. Keller, ed.
This text is cited Feb 2003 from The Perseus Project URL below, which contains 27 image(s), bibliography & interesting hyperlinks.
Receive our daily Newsletter with all the latest updates on the Greek Travel industry.
Subscribe now!
