tag:blogger.com,1999:blog-6588247216777605704.post6228403086265308423..comments2023-04-05T08:04:07.514-04:00Comments on Bryn Mawr Classical Review: 2014.04.05Unknownnoreply@blogger.comBlogger1125tag:blogger.com,1999:blog-6588247216777605704.post-1452033549654530932014-04-21T07:58:02.867-04:002014-04-21T07:58:02.867-04:00Since the possibility is given in this blog, I sho...Since the possibility is given in this blog, I should not leave uncommented the three sentences dedicated to my contribution to the reviewed volume. <br />Basically, the informative value of the author’s footnote no 1 on “previous scholarly views” is questionable. Anyway, it would be interesting to know which scholarly views the reviewer is thinking of: regarding the phenomenon of wall paintings reflecting the activities performed in the decorated areas, it has been convincingly argued by scholars such as Robin Hägg, Clairy Palyvou, Nannò Marinatos, Diamantis Panagiotopoulos and others, that particularly the procession scenes decorating the walls of Minoan corridors, stair-cases and the like were indeed reflecting the actual activities in the respective areas (see, e.g., R. Hägg, “Pictorial Programmes in the Minoan Palaces and Villas?” In: Darcque and Poursat, L’iconographie minoenne 1985, p. 210; Palyvou, Akrotiri Thera. An Architecture of Affluence 3,500 Years Old 2005, p. 167-68; Marinatos, “The Function and Interpretation of the Theran Frescoes.” In: Darcque and Poursat, L’iconographie minoenne 1985, 220; Panagiotopoulos, “Aegaen Imagery and the Syntax of Viewing.” In: Panagiotopoulos and Günkel-Maschek, Minoan Realities 2012, 72-73). <br />Regarding the “changes that occurred in the decoration of the Corridor of the Procession (p. 177)” it can be noticed, that reference is made on the same p. 177 to the hitherto unnoticed step in the ground line of the scene, to the significance of this step for the understanding of the whole preserved composition, and, finally, to further reading on exactly this important detail of the painting. As written on the same page and in the given literature, the change in the direction of the figures is dictated by this step in the ground line and marks the little group of figures as receiving the incoming participants of the procession. Regarding the reflection of possible “modifications in ritual performance” associated with this scenario, it can be stated that the same issue as well as the impact on the viewer’s visual experience are also discussed in the given literature. <br />Since possibility for discussion is provided here, I may, however, add, that, in view of the architectural situation preserved in this area – a corridor –, it appears difficult to imagine a significant change in the main ritual performance, the procession, to have happened at this specific locality. The offering scene between the participants of the procession and the palatial officials receiving them rather seems to have reflected the central motif behind the whole important ritual: the bringing of goods into the palace. Their impact “on the viewer’s visual experience” would have mostly been informative and short, especially when the participants’ situation during the performance is taken into consideration: walking through a rather badly lit corridor and in between further participants in front and behind, the view would have been limited to the sides, even to only one side, if the participants were walking side-by-side in groups of two. In view of this evidence, it can be concluded, that the change in ritual performance floated by the reviewer (based, perhaps, on Boulotis, “Nochmals zum Prozessionsfresko von Knossos: Palast und Darbringung von Prestige-Objekten.” In: Hägg and Marinatos, The Function of the Minoan Palaces 1987, 148-51) can rather be refused. <br />Finally, the reference made in the same footnote to literature on the date of the wall decoration is redundant since the chronological framework of the visibility and consumption of these and the other paintings in discussion is given in my text on p. 168 (the precise reference is Hood, “Dating the Knossos Frescoes.” In: Immerwahr, Aegean Wall Painting 2005, pp. 55, 66 with cat. no. 15).Ute Günkel-Maschekhttps://uni-heidelberg.academia.edu/UteGünkelMascheknoreply@blogger.com