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Archaeologists have long admired the naturalistic animal art of Minoan Crete, often explaining it in terms of religion or a love of the natural world. In this book, Andrew Shapland provides a new way of understanding animal depictions from Bronze Age Crete as the outcome of human-animal relations. Drawing on approaches from anthropology and Human-Animal Studies, he explores the stylistic development of animal depictions in different media, including frescoes, ceramics, stone vessels, seals and wall paintings, and explains them in terms of 'animal practices' such as bull-leaping, hunting, fishing and collecting. Integrating zooarchaeological finds, Shapland highlights the significance of objects and their associated human-animal relations in the history of the palaces, sanctuaries and tombs of Bronze Age Crete. His volume demonstrates how looking at animals opens up new perspectives on familiar sites such as Knossos and some of the most famous objects of this time and place.

Art, Minoan. --- Human-animal relationships in art. --- Animals in art. --- Human-animal relationships --- Animal remains (Archaeology) --- History --- Crete (Greece) --- Antiquities. --- Animals --- Animal-human relationships --- Animal-man relationships --- Animals and humans --- Human beings and animals --- Man-animal relationships --- Relationships, Human-animal --- Animal painting and illustration --- Pets in art --- Wild animals in art --- Zoo animals in art --- Art, Aegean --- Minoan art --- Archaeology --- Bones --- Animal paleopathology --- Archaeozoology --- Zooarchaeology --- Zoology in archaeology --- Methodology --- Human-animal relationships. --- Animals in art

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"Crete was famous in Greek myth as the location of the labyrinth in which the Minotaur was confined in a palace at somewhere called 'Knossos'. From the Middle Ages travelers searched unsuccessfully for the Labyrinth. A handful of clues that survived, such as a coin with a labyrinth design and numerous small bronze age items. The name Knossos had survived - but it was nothing but a sprinkling of houses and farmland so they looked elsewhere. Finally, in 1878, a Cretan archeologist, Minos Kalokairinos discovered evidence of a Bronze Age palace. British Archaeologist and then Keeper of the Ashmolean Arthur Evans came out to visit and was fascinated by the site. Between 1900 and 1931 Evans uncovered the remains of the huge palace which he felt must be the that of King Minos, and he adopted the name 'Minoans' for its occupants. He employed a team of archeologists, architects and artists, and together they built up a picture of the Bronze Age community that had occupied the elaborate building. They imagined a sophisticated, nature-loving people, whose civilization peaked, and then disintegrated. Evans's interpretations of his finds were accurate in some places, but deeply flawed in others. The Evans Archive, held by the Ashmolean, records his finds, theories and (often contentious) reconstructions."--

Labyrinths --- Excavations (Archaeology) --- Minoans --- History --- Evans, Arthur, --- Knossos (Extinct city) --- Antiquities

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Trojan War --- Troy (Extinct city) --- Turkey --- History --- Exhibitions --- Troy --- Excavations (Archaeology) --- Vases, Ancient --- Art, Ancient --- Exhibitions. --- Legends --- In art --- In literature --- Iconography --- Archeology --- Antiquities