Aegeus Society For Aegean Prehistory


Sunday 20 March 2011

To τοπίο στις τοιχογραφικές παραστάσεις του αιγαιακού χώρου κατά την Ύστερη Εποχή του Χαλκού (The Landscape on the Aegean Bronze Age wall-paintings)

Pandelis Komninos Aristotle University of Thessaloniki 2009

To τοπίο στις τοιχογραφικές παραστάσεις του αιγαιακού χώρου κατά την Ύστερη Εποχή του Χαλκού (The Landscape on the Aegean Bronze Age wall-paintings)

Description: 1 vol., 335 p., 134 colour and 13 b/w figures, 28 drawings, 5 maps, 29,7x21 cm

Country: Greece

Supervisor: Aikaterini Papaefthymiou-Papanthimou

Other supervisors: Stylianos Andreou, Chrysoula Saatsoglou-Paliadeli

Examiners: A. Papaefthymiou-Papanthimou, K. Kotsakis, S. Andreou, N. Efstratiou, B. Schmidt-Douna, A. Moustaka, S. Pingiatoglou


The main goal of this dissertation is to show how the iconography of the Aegean frescos could constitute multiple aspects of landscape experienced by the Aegean people of the Bronze Age. The researcher in order to achieve something like that should apply an approach by which the landscape would be seen under a “holistic” view, asking the help of other approaches, such as the Processual or even the Post-processual one. Thus, he would co-examine the depiction of natural environment on the different means of the material culture, e.g. on seals, pottery and jewellery crafting. Moreover, he would examine these particular features of the Aegean iconography, the conventions and the hybrids, the characteristic figurative units, showing how the landscape was experienced by the Aegean people in a peculiar, unique way, which allowed them to be self-defined and to build their specific cultural identity. In order to achieve this aim, they used to use the symbolism reflected on the depictions. The ideology of these representations, which could potentially shape symbolic, ritual or even ethnic landscapes, leads to a comparative examination of the analogue features of the eastern Mediterranean. It could demonstrate that the depiction of the nature on the Aegean wall-paintings is related with the shaping of an ethnic identity, linking but also distinguishing the Aegean people and the Egyptians or Syropalestinians during the Late Bronze Age. It seems that nature was not separated from the Aegean people. In addition, the way the Aegean man perceives and interacts with the environment forms the living in a landscape. Thus, collective memory is incorporated into the ideational landscapes, the symbolic and ritual characters of the depictions are reflected and each group builds their own cultural bounds defining their identity in time and space. This landscape is characterized by relativeness , because, as a cultural construction, it provides mobility and needs multiple ways of interpretation.


  • Εισαγωγή [viii]
  • Τοπίο και περιβάλλον: H βίωσή τους ως σύλληψη και ως πρακτική [1]
  • To περιβάλλον του Αιγαίου άλλοτε και τώρα [18]
  • Τοπίο και αιγαιακές τοιχογραφίες [27]
  • Οι κυριότερες τοιχογραφικές παραστάσεις στη Μινωική Κρήτη και τον ευρύτερο περιβάλλοντα αιγαιακό χώρο [59]
  • H σχέση των εικονογραφικών προγραμμάτων με τη φύση [122]
  • Ο ρόλος των κυριότερων εικονιστικών μονάδων [140]
  • To φυσικό περιβάλλον ως στοιχείο βίωσης του τοπίου διαμέσου της «τέχνης» [156]
  • Συμπεράσματα – συζήτηση [189]
  • Αντί επιλόγου [226]




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