In relief the picture is drawn and the background is then carved away from the subject matter. This helps to give emphasis on the subjects, and on the relief of Ti, it gives a repeating pattern in the background that draws the eye to the people in the boat and the animals in the water and connects to the animals in the papyrus above them.
The Minoan fresco is painted on plaster and has a very 2-dimensional feel compared to the Egyptian relief. The painting style for both the relief and the fresco are very similar.
Both the Egyptian and Minoan artists filled in contours of their work with solid color and without use of shading. They used a repetition of line work, either painted or carved, to show details, such as the lines of hair on the Minoan bull and the geometric shapes framing the subject matter, and the repeating lines used for the stalks of papyrus in the Egyptian relief.
The subject matters both show important events occurring and have symbols of power. In the bull fresco, the bull is a symbol of strength, virility, and fertility and also connected to religion.
The strength of the bull is depicted in its large shoulders and strong neck and the sense of power and movement seen in the pose of the body.
The scene with the woman and the man leaping over the bull could be a depiction of a rite of passage or of an initiation or it could just be showing a form of entertainment. Throughout Module 4, I realized Minoan artwork differs noticeably from Egyptian frescoes. Differences I noticed include, first of all, the fresco technique itself; Minoans utilized true fresco wet , while Egyptians used fresco secco dry. Additionally, most Egyptian frescoes revolved around Religious subjects, while Minoan works focused on nature.
Both works of art are revealing in their own right, with insight into each culture. There are many differences between these two works of art that far outweigh their similarities. The Judgment of Hunefer Before Osiris is painted on a papyrus scroll and meant to be placed in the wrappings of mummified bodies. They were commissioned by the family of the deceased, Hunefer, and symbolized the coming to judgment of Hunefer before the god of the dead, Osiris. The painting shows the three stages of the induction into the afterlife, which consumed Egyptian culture.
He is then presented to Osiris by Horus, king of the earth. In the top register, Hunefer is accepted into the afterlife and kneels before the 14 gods of the underworld. The Bull Leaping fresco is much less dramatic and seems more realistic. It simply shows a man leaping over a bull.
We are not quite sure of the meaning of the painting, whether it is a religious ritual, initiation or pure entertainment. However, it shows two women on either side of the bull, one steadying the bull and the other perhaps ready to catch the man. The differences in these works are the medium, papyrus for the Egyptian art and a fresco painting for the Minoan art. The size is smaller in the Egyptian art as well. Anyone who has visited Egypt feels the impact of the monuments and recognizes the fact that the conservative nature of Egyptian art makes exact comparisons superfluous.
The theory that direct Minoan contact with Egyptian painting served as a catalyst in the development of Minoan painting I find an attractive one, yet I admit there are a few problems, the main one chronological. Michalowski, Art of Ancient Eggpt , pi. I acacia tree and birds and V cat in. Kaiser, Untersuchungen , p. It is also found on seals of the Hieroglyphic class PM I, p.
However, Edwin L. Brown reminds me that the domesticated cat is a relative latecomer to Egypt, not before B. See also K. Foster and A. For a discussion of the composition of the Town Mosaic see also W. Smith, Interconnections in the Ancient Near East , p.
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