The Clay Tablets of Hagia Triada eBook – revision 1 now available

The 2012 revision of Minoan Linear A: The Clay Tablets of Hagia Triada is now available!

If you have already purchased a digital copy of the book, watch for an email from Amazon announcing availability of an update or go to http://amazon.com/MYKupdate and find the book in your Kindle Library and click on the “update available” link next to the book’s title.

US Kindle $9.99 | UK Kindle | DE Kindle

A Kindle is not required. The book can be read with any of several free Kindle applications: Kindle Reading Apps

Rev. 1 Updates
• Added photographs from Hagia Triada, Crete
• Improved layout and readability*
• Additional comments from Dr. Younger (University of Kansas)
• Added find spots from Dr. Tomas (University of Zagreb)
• New research to review from Dr. Thorley (University of Lancaster) and independent researcher Hubert La Marle
• Added information about availability of B&W and color photographs of HT tablets
• Reorganized flow based on feedback
• eBook is now available as a free library loan for Amazon Prime customers – no Kindle necessary

* with thanks to ImageMagick for quick and easy bulk image resizing to fix the Kindle / HTML table display issues

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Linear B AB17: za is ka2?

Linear B ZA or KA2
za … or ka2?

I was surprised to recently discover a new phonetic value proposed for the above symbol by Palmer (1980) and del Barrio Vega (1996 publication from 1991 conference proceedings), traditionally transliterated as “za”.

The original value “za” derives largely from the interpretation of a3-za as /aidza/ < αἴγειος of a goat from αἴξ goat, and some of its Indo-European cognates like /aja/ goat (Sanskrit). As can be seen here, the Greek word is of the form /gjo/ rather than /dza/.

del Barrio Vega proposes that ka2 evolved from rapid double-consonant pronunciations g’g’ and k’k’ into /gja/ and /kya/ pronunciations (del Barrio Vega 1996). In addition to the /gja/ of αἴγειος shown above, /kya/ of su-za as συχγα and the alternation of ka-za (KN Sp 4452 in the context of ideogram *253) and ka-ki-jo (KN So 894 in the context of ROTA ZE) are also cited to provide further evidence.

I can definitely see the points made with a3-za and su-za, but I’m withholding agreement on ka-za and ka-ki-jo as variant forms until I read more convincing evidence. The ideograms differ, the context differs, and Chadwick and Ventris 1973 express doubt that ka-za is of bronze, though they express confidence that ka-ki-jo aligns with ka-ke-ja-pi of bronze cf. χάλκειος. The KN Sp tablets are too broken and too few to provide evidence, and ka-za is hapax to KN Sp 4452.

Palmer 2008 (Fig. 2.2a) ignores this phonetic value in her Linear B chart, which may mean that the proposal has not been accepted by the wider academic community. However, I think it has enough merit to certainly warrant a footnote when “za” is used to transliterate this symbol.

I’m interested in other ideas supporting or rejecting the phonetic value of ka2 (/gja/, /kya/) to replace za. Please comment if you’ve read any additional work on this topic, or have some ideas of your own.


References

Chadwick, John and Michael Ventris, 1973 Documents in Mycenaean Greek

del Barrio Vega, María Luisa, 1996 Attí e memorie del secondo congresso internazionale di micenologia Vol. I Filologia “Algunas consideraciones sobre los silabogramas complejos”, p. 189-93

Palmer, Leonard Robert, 1980 The Greek Language, p. 31-2

Palmer, Ruth, 2008 A Companion to Linear B: Mycenaean Greek Texts and their World (ed. Yves Duhoux and Anna Morpurgo Davies) “How to Begin?”

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Acrophonic Abbreviation for *91 two

Linear B TWO
Linear B TWO normalized

Günter Neumann put forward a hypothesis that caught my eye at the 2nd International Congress of Mycenology in 1991, which was published in Attí e memorie del secondo congresso internazionale di micenologia vol. 1 Filologia in 1996. The article, written in German, is “Zur Schaffung der Zeichen *91 two und *62 pte von Linear B”.

He proposes that *91 / two is an acrophonic abbreviation for the profile of a larnax from the Greek word σορός ‘vessel for holding; a cinerary urn or coffin’ with a Mycenaean pronunciation of *tworós.

Linear B TWO variant on PY An 261
PY An 261 TWO variant (after Neumann 1996)

Kerameikos Larnax Profile
Kerameikos Larnax Profile (after Neumann 1996)

Some of the larnakes from Crete fit this profile as well:

Larnax with Lid
Note the lid’s side-view profile on this larnax at the Sitia Archaeological Museum (photo: Kim Raymoure)

TWO’s internal horizontal lines could represent the handles of the lid and larnax as shown here, so I do see the visual connection Neumann is suggesting.

Minoan Larnax
The side-view profile of this larnax at the Sitia Archaeological Museum shows the top-to-bottom slendering and the feet in Neumann’s larnax profile (photo: Kim Raymoure)

TWO’s use in Linear B is restricted to its phonetic value, parallel with /tu-wo/ in o-two-we-o on PY An 261 and o-tu-wo-we on the PY Jn series. In the available Linear B corpus, there is no ideographic use of TWO, so if Neumann’s suggestion is correct, the acrophonic abbreviation is pre-Mycenaean.

This immediately made me wonder what the symbol might’ve looked like in Linear A or the Cretan Hieroglyphics. I’m going to run the latter part of this question past András Zeke who knows his hieroglyphs much better than I do. For Linear A, after some contemplation and sifting through the inscriptions, the nearest match seems to be:

Linear A *344
*344 from HT96 (after GORILA)

John Younger lists this as a logogram. I agree, and I think it may form a conceptual digram with *323 which precedes it. When put together, the 2 symbols, isolated together by vertical delimiters, appear, when considering Neumann’s side-view profile of the larnax, to most resemble the lid (*323) and footed larnax (*344) of the larnakes shown above.

Linear A *323Linear A *344
*323 *344 from HT96, side-view of lid and larnax?

Some immediate complications with this interpretation:
*323 appears prior on HT96 with *317; how to interpret?
*323 also appears on HT31 in a long sign group (ki-de-ma-*323-na) implying a plausible phonetic rather than ideographic value. It is also of interest to note, however, that HT31 is a tablet dealing with a variety of different large containers; contextually relevant to a larnax lid.


Neumann, Günter, 1996 Attí e memorie del secondo congresso internazionale di micenologia vol. 1 Filologia “Zur Schaffung der Zeichen *91 two und *62 pte von Linear B”

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Pylos Linear B Inscriptions Digitized

The ~1,000 Linear B inscriptions from Pylos have now been digitized.

The Pylos transliterations:
http://minoan.deaditerranean.com/linear-b-transliterations/pylos/

Searching, browsing and contributing to the ~5,000 Linear B transliterations now available:
http://minoan.deaditerranean.com/linear-b-transliterations/

PY Ng 319
PY Ng 319

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Minoan Larnakes

Photos of the clay coffins of Minoan Crete, from the archaeological museums at Arkhanes, Siteia and Agios Nikolaos.

Collection of Minoan Larnakes Photographs

Minoan Larnakes
Agios Nikolaos Archaeological Museum, Crete

Arkhanes Larnakes
Arkhanes Archaeological Museum, Crete

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Photos from Phaistos

I finally finished uploading the 510 photos from my trip to Phaistos, Crete. :)

http://www.flickr.com/photos/kiminoa/sets/72157627694908941/

Phaistos Theatre, from the Northwest corner
Theatre

Phaistos Neopalatial Magazine (Hadzi-Vallianou Room 28)
Magazines filled with Interesting Stone-crafted Finds

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The Ring of Minos

Minoan Signet Ring (1600 - 1450 BCE)
The Ring of Minos (1600 – 1450 BCE), Iraklion Archaeological Museum, Crete

“It is a truism in archaeology that religious interpretations are often assigned to artifacts that are otherwise as yet inexplicable [...]” – D.J. Ian Begg

Signet rings are also particularly susceptible to these kinds of interpretations.

The interpretations suggested in the The Ring of Minos, representing the common interpretation of this signet ring, are no exception.

On the left? A female tree-worshipper / adorant!
At the top center? A male tree-worshipper / adorant!
In the boat? A goddess!
To the right? A goddess!
In the background distance? A tiny goddess hovering in the air!
Sacred “baetyl” stones everywhere!

After a trip to Crete and a recent adventure to help my friend Kris pick grapes from the vines at her house in Portland, OR, what I see is a harvest scene.

The woman on the left and the man in the middle? Harvesting grapes. The man even has a grape cluster dangling from his left hand.
The sacred “baetyl” boulders strewn about? Harvesting bags.
The woman on the right? Management ;) And based on the position of her hand, quite possibly eating a grape.
The woman in the distance? Rather than a tiny goddess, why not another harvester in the distance to show that everyone is at the task?

There are two things I noticed while helping my friend pick grapes:
1. There were lots of bees buzzing about my head
2. Low-hanging fruit, indeed! The high stuff is much harder to get to, and required some amusing contortions on my part, quite like the position of the man in this signet.

While this signet ring does not depict bees buzzing about, a ring from the Tholos tomb at Phourni from the Arkhanes site most certainly does, and bears a similar scene that should be compared to the one above. András Zeke discusses his interpretation of this and other sealings in the following blog posts with some excellent visual aids: http://minoablog.blogspot.com/2010/05/mythical-figures-on-cretan-jewellery.html, http://minoablog.blogspot.com/2010/07/more-minoan-signet-rings-tales-of.html.

If one of the women in these sealings is indeed a goddess, then she is very likely a goddess of the harvest. Hi, Demeter :)

The book is absolutely worth buying for the fabulous photographs of this and several other signet rings and seal stone impressions. It is time, however, to consider some more mundane interpretations.

References

Dimopoulou, Nota and Yorgos Rethemiotakis, 2004 The Ring of Minos (Ministry of Culture Archaeological Receipts Fund)

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A Linear B tablet fragment in Manchester

For those of you in the UK, I just confirmed with the Manchester Museum at the University of Manchester that, in their Mediterranean Gallery, there is a Linear B tablet fragment on permanent display: KN B 8333.

http://www.museum.manchester.ac.uk/

If any of you have a chance to visit the museum, I’d love a photograph of the display :)

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Studies in Mycenaean Inscriptions and Dialect (SMID)

http://smid.class.utexas.edu

This is a searchable index of articles written on Linear A and B.

We can, for instance, enter in “e-ne-wo-pe-za” to the search, and it will give back the current index of published articles that discuss e-ne-wo-pe-za.

This is a great resource for uncovering relevant articles for our research. Awesome.

Description from the website:

SMID is an analytical bibliography of Mycenaean text studies, including short summaries of scholarly works, cross-references of reviews, and indices of Linear B and Linear A signs, words and texts, as well as a fully cross-referenced subject index. SMID is a unit of the Program in Aegean Scripts and Prehistory in the Department of Classics at The University of Texas at Austin.

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“An Archaeology of Palatial Mason’s Marks on Crete” by D. J. Ian Begg

This volume (33) of Hesperia Supplements includes an excellent article by D. J. Ian Begg reviewing the present study and understanding of the context and interpretation of Minoan “mason’s marks”. For anyone who is curious about the marks incised in stone at Knossos, Phaistos, Hagia Triada, Gournia, etc., this article is a fantastic place to start.

One of my favourite quotes from this paper is “It is a truism in archaeology that religious interpretations are often assigned to artifacts that are otherwise as yet inexplicable; mason’s marks would appear to be particularly susceptible to such interpretations.” Indeed! This has often been the case since as early as Sir Arthur Evans began interpreting the purpose of the labris marks in his “pillar crypts” at Knossos.

The article does an excellent job of reviewing religious and secular interpretations, and considers contemporary evidence from Egypt and Cyprus, as well as taking a look at the use of mason’s marks in post-Minoan times on Crete and in Greece. One especially exciting observation in this article, courtesy of Oliver Pelon, is the reinterpretation of an incised stone altar at Malia. Both the altar and a supporting pillar in Silo 2 at Malia share a very interesting distinction: both are incised with a simple cross facing south and a star facing east.

Minoan Star Mason Mark
Minoan mason marks @ Flickr

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