School of Historical and Philosophical Studies - Theses
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ItemBotanic motifs of the Bronze Age Cycladic Islands: identity, belief, ritual and trade( 2019)Botanic motifs of the Bronze Age Cycladic Islands: Identity, Belief, Ritual and Trade Marcia Nugent, University of Melbourne This thesis argues the motifs with which we surround ourselves signify something – about us, our identities, our values and our understanding of the world. Frequently and infrequently represented motifs tell us something about the culture from which they come. Assemblages of motifs from different peoples and places tell us something about the people who created and viewed them – their preferences and their sense of place in their environment. In short, motifs have meaning. Although in many cases the original viewer may have assigned non-intrinsic meaning to motifs, patterns of representation and placement and the context of motifs can allow the uninitiated to recognise meaning. Motifs can communicate feelings, ideas, beliefs, practice and uses of the items represented to observers far removed from the original intended viewers. Since prehistoric times, the natural world has been a focus of human artistic endeavour. From before people first settled and started practicing agriculture, plants have been important sources of shelter, nourishment and clothing materials. It is perhaps not surprising, then, that plants feature in early artistic representations. The artistic record reflects our early and continuing inextricable link to our natural environment. Our reliance on plant products makes botanic motifs an important subset of the iconographic record. The temporal and geographical focus of this study is the Bronze Age period (approx. 3000 – 1200 BC) of three sites from the Cycladic Islands, a group of islands in the Aegean Sea north of Crete – Akrotiri (Thera), Ayia Irini (Kea) and Phylakopi (Melos). Motifs are frequently from the Late Bronze Age period (1600 – 1200 BC), but some motifs are first seen and traced from the Early and Middle Bronze Age periods. The thesis seeks to answer two broad research questions: 1. Which plants were represented at the Bronze Age Cycladic Islands of Melos, Thera and Kea and how were they represented? 2. What can the context, form and associations of the botanic motifs tell us about the identity, beliefs, rituals and trade of the people that created and viewed them? Although a number of scholars have undertaken broad iconographic studies and other research has considered a limited assemblage of plant motifs, none have focused only on the three Cycladic Island sites featured in this study. This thesis also uniquely applies a quantitative and contextual analysis to over 500 botanic motifs to understand broader qualitative archaeological problems. The newly developed analytical methodology of this thesis intends to extend a replicable, scientific approach reaching from a quantitative, numbers based analysis to qualitative analysis utilising theoretical frameworks, enabling a post-processual, post-structuralist, contextualised study of the botanic motifs. The study ultimately reveals botanic motifs and the plants they represent have an entangled relationship with humanity, built on dependency and co-dependency, which support and enhance the economic, health and spiritual lives of the people of the Bronze Age Cycladic Islands.
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ItemCycladic sculptures decorated with abstract painted motifs: representations of tattooing in the prehistoric Aegean( 2019)In historical literature pertaining to Cycladic sculptures, several writers suggest that some of the painted motifs on the surface of these marble sculptures may represent tattoos. This thesis seeks to undertake the first systematic research into answering the question: ‘Did Cycladic islanders practice tattooing and is this reflected in the abstract painted motifs on Cycladic sculptures?’. As a consequence of the Cycladic burial method of inhumation in the Early Bronze Age Aegean, the physical remains of body decoration or tattooing on preserved skin has not survived. Therefore, representations of tattooing on marble sculptures are the main sources of Cycladic evidence for the practice, along with the archaeological remains of possible tattooing instruments that demonstrate the technological ability to practice tattooing. Comparisons to the painted motifs on Egyptian potency figurines, which mimic the tattoos on the preserved skin of female mummies from Egypt and Nubia, are further supporting evidence for the hypothesis that Cycladic islanders were in contact with tattooed people that created figurines with tattoos. An overview of tattooing in ancient and traditional cultures around the globe is presented in order to shed light on the reasons why tattooing is practised and why particular motifs are chosen. Descriptions of the methods employed to create the tattoos in these cultures also present the reader with the ability to recognise comparative tattooing instruments in Cycladic material culture. A literature review of the history of the scholarly engagement with Cycladic sculptures demonstrates why this thesis is necessary to broaden research into the painted abstract motifs on these Early Bronze Age sculptures. Possible tattoo kits are also identified in the burial assemblages of several Cycladic cemeteries.