Cover Page The handle http://hdl.handle.net/1887/36423 holds various files of this Leiden University dissertation

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Cover Page

The handle http://hdl.handle.net/1887/36423 holds various files of this Leiden University dissertation

Author: Bajema, Marcus Jan

Title: A comparative approach toward understanding the Mycenaean and Late Preclassic lowland Maya early civilisations through their art styles

Issue Date: 2015-11-24

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A COMPARATIVE APPROACH TOWARD UNDERSTANDING THE MYCENAEAN AND LATE PRECLASSIC LOWLAND MAYA EARLY

CIVILISATIONS THROUGH THEIR ART STYLES

Proefschrift ter verkrijging van

de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof. mr. C.J.J.M. Stolker,

volgens besluit van het College voor Promoties te verdedigen op dinsdag 24 november 2015

klokke 15:00 uur door

Marcus Jan Bajema

geboren te Gouda

in 1979

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Promotores

Prof. Dr. M.E.R.G.N. Jansen Prof. Dr. J.L. Bintliff

Promotiecommissie Prof. Dr. R.H.A. Corbey

Prof. Dr. N. Grube (Rheinische Friedrich-Wilhems-Universität Bonn)

Prof. Dr. M.L. Sørensen (Universiteit Leiden / Cambridge University)

Dr. G.J. van Wijngaarden (Universiteit van Amsterdam)

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LIST OF FIGURES

Figure 1: Levels of archaeological theory.

Figure 2: Wittgenstein's colour language game.

Figure 3: Map of the eastern Mediterranean and Near East in the Late Bronze Age.

Figure 4: Map of the major Mycenaean sites on the Greek mainland.

Figure 5: A model for the regional expansion of the Pylian state.

Figure 6: Painted plaster head from Mycenae.

Figure 7: Armless figure on the Ayia Triada sarcophagus.

Figure 8: The 'Lion Gate' at Mycenae.

Figure 9: The throne installation at Knossos.

Figure 10: Reconstruction of the throne installation wall-paintings at Knossos Figure 11: Stone block with blue glass inlays from Tiryns.

Figure 12: Ikria frieze from Mycenae.

Figure 13: Detail of a ship's hull in a wall-painting from Akrotiri.

Figure 14: Griffin with blue wings from Akrotiri.

Figure 15: Landscape with blue elements from Akrotiri.

Figure 16: Second griffin with blue wings from Akrotiri.

Figure 17: Beads used as jewellery from Akrotiri.

Figure 18: Shapes of Mycenaean blue-glass beads.

Figure 19: Lyre from the Royal Cemetery at Ur with lapis lazuli beard. Woolley 1934, plate 107.

Figure 20: Changes in naturalism from Minoan to Mycenaean art.

Figure 21: Repetitive frieze of nautili from Pylos.

Figure 22: Repetitive frieze of bluebirds from Pylos.

Figure 23: Leaping dolphins in a wall-painting from Gla.

Figure 24: Floor-painting with a nautical theme from Tiryns.

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Figure 25: Floor-painting with a nautical theme from Pylos.

Figure 26: Figure holding a lyre from Pylos.

Figure 27: Griffin and lion from Pylos.

Figure 28: Two sides of a 'black bronze' dagger from Shaft Grave at Mycenae.

Figure 29: Megaron vestibule procession scene from Pylos.

Figure 30: Outline of the position of the different wall-paintings in the Pylos megaron.

Figure 31: Plan of the palace of Knossos.

Figure 32: Plan of the palace of Tiryns.

Figure 33: Reconstruction of the interior of the Pylos megaron by Piet de Jong.

Figure 34: Reconstruction of a procession scene from the palace of Knossos.

Figure 35: Campstool wall-painting from Knossos.

Figure 36: Reconstruction of procession scene in its architectural context from Ayia Triada.

Figure 37: Toasting pairs of men at tables from Pylos.

Figure 38: Wall-painting from the Cult Centre at Mycenae.

Figure 39: Mourning scenes on the Tanagra larnakes.

Figure 40: Reconstruction of a part of the battle-scene wall-painting from Mycenae.

Figure 41: Reconstruction of a part of the battle-scene wall-painting from Pylos.

Figure 42: Reconstruction of a figure-8 shield frieze from Tiryns.

Figure 43: Chariot scenes on exported Mycenaean painted vases.

Figure 44: Bull-leaping wall-painting from Knossos (Taureador panel).

Figure 45: Reconstruction of a part of the hunting-scene wall-painting from Tiryns.

Figure 46: Renfrew's commodity nexus.

Figure 47: Map of Mesoamerica.

Figure 48: Map of major sites Preclassic lowland Maya area.

Figure 49: Evolution of maize god.

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Figure 50: Arrangement stucco-masks Preclassic Tikal.

Figure 51: Stela 2 from Cival.

Figure 52: Fuchsite mask from Burial 85 at Tikal.

Figure 53: The flow of k'uh in a royal sacrifice depicted on Stela 7 from Classic-period Yaxchilan.

Figure 54: Reconstruction of the gourd birth-scene in a wall-painting from San Bartolo.

Figure 55: Detail of 3 'Ik sign in a wall-painting from San Bartolo.

Figure 56: Breath volutes in a wall-painting from San Bartolo.

Figure 57: Margaret Hagen's four types of projective system in representational art.

Figure 58: Painted k'an cross on a bowl from K'axob.

Figure 59: Detail of the lower skyband in a wall-painting from San Bartolo.

Figure 60: Detail of the upper skyband in a wall-painting from San Bartolo.

Figure 61: Jester God on Nakbé Stela 1.

Figure 62: Jester God headdress San Bartolo.

Figure 63: Jester God DO plaque.

Figure 64: Jester God in Cival mural.

Figure 65: Jester God in El Achiotal mural.

Figure 66: Text accompanying sacrificing figure San Bartolo.

Figure 67: Muut birds San Bartolo.

Figure 68: Ideal type Maya civic-ceremonial centre.

Figure 69: Map of Preclassic period Nakbé.

Figure 70: PBD on Structure 1 at Nakbé.

Figure 71: Stela 2 from El Mirador.

Figure 72: Reconstruction of the civic-ceremonial centre of Cival.

Figure 73: Cache 4 at Cival.

Figure 74: Map of San Bartolo.

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Figure 75: Outline of Pinturas Sub-1A.

Figure 76: Overview of north wall San Bartolo.

Figure 77: Detail of figure from gourd birth-scene San Bartolo.

Figure 78: Overview of west wall San Bartolo.

Figure 79: Outline civic-ceremonial centre K'axob.

Figure 80: Detail of operation 1 at K'axob.

Figure 81: Outline civic-ceremonial centre Chan.

Figure 82: Figurines from Chan.

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LIST OF TABLES

Table 1.1: Overview of the remaining thesis chapters. 2

Table 2.1: Approaches to cross-cultural comparison in archaeology. 52

Table 2.2: Cities and state forms in early civilisations. 60

Table 2.3: Sample of early civilisations in Trigger's Understanding. 61

Table 2.4: Elements used to delineate early civilisations. 64

Table 2.5: Basic and high-level analytic categories for the interpretation of art. 80

Table 3.1: Aegean Bronze Age chronology. 85

Table 3.2: Starting-points of each of the ten elements of Mycenaean early civilisation.

106

Table 4.1: Categories of the material forms of Mycenaean art. 117

Table 4.2: Depictions of griffins with blue wings in Aegean-style wall-paintings. 140

Table 5.1: Material, iconographic, and linguistic metaphoric 'connectors' in

Mycenaean art. 198

Table 6.1: Shared Mesoamerican practices. 209

Table 6.2: A comparison of the presence of key elements of the Preclassic Maya at El

Mirador and Chan. 226

Table 7.1: Categories of the material forms of LPC lowland Maya art. 233

Table 7.2: Overview of production patterns selected LPC material forms. 245

Table 7.3: Overview of projection modes. 257

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Table 9.1: Overview of distinct characteristics of Mycenaean and LPC lowland Maya economies.

315

Table 9.2: Idiosyncratic patterns Mesopotamia and central Mexico. 321

Table 9.3: Key characteristics of Mycenaean blue glass and Maya jadeite compared. 332

Table 9.4: Similarities and differences of Mycenaean and LPC lowland Maya art. 347

Table appendix 376