Monkey and Ape Iconography in Minoan Art

Abstract

This dissertation examines monkey and ape iconography in Minoan art during the Aegean Bronze Age (ca. 3,000–1,100 B.C.). Although a broad range of animals exist for depiction, Minoan artists carefully selected each subject in order to fulfill specific roles. Monkeys and apes appear to function differently than the other creatures that are depicted in art. Rather than subscribing to the general roles played by other animals, these primates may be shown outdoors, behaving like wild animals, or in a ceremonial context, participating in a ritual. Monkeys also imitate human activities. The deviation of primates from the typical roles of other animals found in Minoan art invites a deeper investigation of the role and iconography of apes and monkeys. In this study, three types of media that bear depictions of primates are considered. These media include figurines, glyptic art, and wall paintings. First, a review of the stylistic features of Minoan art and the possibility for the use of pattern books is discussed. Next, monkey and ape iconography in Egyptian art is explored. A thorough review of the creatures’ iconography in Minoan art follows, which includes the identification of figures as either ape or monkey, as well as a detailed description and conclusions about each type of representation. A new possible reconstruction of the Saffron Gatherer fresco is also included. Finally, the possible origins of Minoan primate iconography are considered, as well as the possible implications of the creature’s history, development, and roles. With this information in mind, the Offering to the Seated Goddess scene is then examined. The possible reconstruction of a crocus ceremony is proposed and explained, and the Levantine parallels for the compositional arrangement of the scene are also addressed. These conclusions may directly inform greater themes in Minoan culture, such as religion and cult practices.