summer haiku d'été – our fair teal sky = le ciel bleu vert around the ruins of Knossos/ autour des ruines de Knossos our fair teal sky the open sea our lush hills – how the dolphins leap! auprès des ruines de Knossos ce ciel bleu vert la haute mer nos champs verdoyants que les dauphins sautent ! Richard Vallance © by Richard Vallance 2020 fresco of the dolphins = fresque des dauphins, Knossos
Minoan civilization, ca. 2200 – ca 1450 BCE
Origin of the saffron crocus traced back to Greece
Origin of the saffron crocus traced back to Greece: Since ancient times, saffron has been giving dishes a golden-yellow hue and an aromatic flavour. The use of the stigmas of the saffron crocus (Crocus sativus) is depicted in frescos from Crete and Santorini, which are as old as 3600 years. Nowadays, the valuable plant is mainly cultivated in Iran accounting for more than 90% of the saffron production. For the remainder of this informative article, click on the logo image above. Saffron: Map of Ancient Greece illustrating the distribution of saffron:
Academia.edu THESIS The Minoan and Mycenaean Agricultural Trade and Trade Routes in the Mycenaean Empire by Rita Roberts
Academia.edu THESIS The Minoan and Mycenaean Agricultural Trade and Trade Routes in the Mycenaean Empire by Rita Roberts: Click on this logo to download her thesis: We are proud to announce that Rita Roberts has fulfilled the requirements of her second year of university, and has passed with a mark of 85 %. We have awarded her 90 % for thesis, The Minoan and Mycenaean Agricultural Trade and Trade Routes in the Mycenaean Empire, which is a finely researched document I highly recommend to any and all. It deals in great detail with every conceivable aspect of Minoan and Mycenaean agricultural trade via their trade routes in the Mycenaean Empire, ca. 1600-1450 BCE. We congratulate Rita on her splendid achievement, and we look forward to her fuflling the exacting requirements of her third and final year of university which commences on July 1 2018, Canada Day. Once she has completed her third year, she will have earned her Bachelor of Arts degree in Minoan and Mycenaean studies.
Minoan Linear A poetic vocabulary (11 pages)
Minoan Linear A poetic vocabulary (11 pages): Thematic: Agriculture/crops: adara/adaro/adaru = having to do with the measurement of grain crops ade/adu = large unit of measurement for grains, something like bales? adureza = dry unit of measurement, usually for grains akara/akaru a1kra (arch. acc.) - or - = end, border + akaru a0gro/j = field
akiro a1kairoj = not in season, unseasonable -or- a1grioj = living in the fields; uncultivated, unreclaimed
amaja a3maca= wagon arura a0rou/ra = unit of land -or- plough Cf. Linear B arura arudara a1lutra <- a1lutron = threshing instrument (arch. acc.) asesina = sowing or harvesting asadaka a1staxa (arch. acc.) <- a1staxu (Minoan nom. sing.)= ear of corn Asara2 TOP = Linear B Asaro A0sa/roj -or- may refer to Assur, hence Assyria -or- asara2 (asarai) = without flax atare a0ta=lei/ <- a0ta=lo/j = tender; delicate (of crops?) -or- a0qa/lei <- a0qa/loj = without a branch, twig; without an olive branch -or- a9dro/j = full-grown – or – a0qa/rh = groats, meal, green fodder, forage, provender Cf. kupari = galingale atiru a0te/lu <- a0te/loj = without boundaries dame/dami/daminu OM dame = a type of grain -or- da/mei = in the village data2 (datai) = olive datu = olive tree dideru = einkorn wheat Cf. Linear B didero durare = a type of grain, durum wheat? dureza/durezase = unit of dry measurement? (variation of: adureza?) ero e0llo/j = young deer, fawn etori e1tori <- e1toj = for a year itaja = unit of liquid volume for olive oil? (exact value unknown) kami ka/mi (dat./instr. sing.) <- ka/ma = (on a) unit of land Cf. Linear B ka/ma kasaru = surviving? (drought) kasitero kasite/loj = boundary of...? kikadi = cicada (cricket) kireta2 (kiretai) kri/qai = barley kiretana kriqani/aj = like barley, barley (attributive) kiro/kirisi/kiru = owed Cf. Linear B oporo = they owed kunisu = emmer wheat (derivation: Semitic kunnisu) madi = a ram? (probably, because it appears to be masculine and is used in conjunction with the ideogram for “sheep” maru/maruku/maruri mallo/j = flock of wool Cf. Linear B mali mali/ = wool meza me/za (fem. sing.) = greater, bigger Cf. Linear B mezo me/zwn me/zoj minute (sing. minuta2 – minutai) = type of grain – or – Mi/nute\ <- Mi/noste\ = and Minos mireja mhle/a = apple tree -or- mh/leia (gen. sing.) = belonging to a sheep miru mh=lon = a sheep or goat -or- mh1lon = apple, tree fruit mirutarare = sheep pen? -or- apple orchard? naka na/ka (arch. acc) <- na/koj = sheep’s fleece nea ne/a = new Cf. Linear B ne/#a = new pa3ni/pa3nina/pa3niwi = millet -or- spelt pa3qe -or- qepa3 i.e. paiqe -or- qepai (+ ideogram for “wheat”) = a kind of grain similar to wheat paja/pajai/pajare = contracted, indentured, hired? para para\ = beside, from beside, by the side of, beyond etc. pasarija = pa=sa + rija = all-encompassing, international? pura2 = a type of grain qanuma = a type of grain qareto = lease field? Cf. Linear B onato qaqisenuti xalkei/a=senuti = with bronze craftsmanship qera2u/qera2wa = a type of grain, probably millet or spelt qeria = probably millet or spelt reza = standard unit of linear measurement rima lei=mac = garden -or- lei=mma = remnant, remains -or- lh=mma = income, receipts (dative/instrumental plural) ruma/rumu/rumata/rumatase lu=matase <- lu=ma = offscourings from grain, i.e chaff sara2 (sarai)/sarara/saru = flax saro/saru/sarutu sa/ron = broom, threshing floor sato sa/ton = Hebrew unit of measurement. sedina = celery Cf. Linear B serino se/linon seikama = seika/ma = a unit of land dedicated to a/the goddess setamaru = something to do with wool/spun wool? sika shka/ (arch. acc.) <- shko/j = fold, enclosure; (sheep) pen; sacred precinct, shrine = <- zhka/zw = to pen in Cf. Linear B periqoro peri/boloj = sheep pen Sikine TOP loc. sing. of Sikinos -or- OM = a type of grain simita = mouse (arch. acc.) simito/simitu PGS = zmi/nqoj mouse sitetu See situ below situ si/tu si/tun = wheat Cf. Linear B sito si/ton suniku (common) su/noiku <- su/noikoj living together, joint inhabitant, dweller suzu su/zuc = yoked together; paired Cf. Linear B zeukesi zeu/gesi = yoked (instr. pl.) taikama taika/ma = a unit of land, something like an acre? ta2re/ta2reki sta=rei<- stai=j wheaten flour mixed into dough + tasise sta/sisei tai2si (taisi) stai=sei <- stai=j = with wheaten flour mixed into a dough (instr. pl.) teke/teki = small unit of measurement for wine @ 27 1/2 units per tereza tereza = liquid unit of measurement terikama te/leika/ma = extent of land, i.e. something like acreage, lit. land to its extent or boundary tero/teroa te/loj = end, boundary Tumitizase TOP -or- = linen Cf. Linear B rino li/non udiriki u3driki <- u3droj = with water ukare = sowing or harvesting Uminase TOP Cf. Linear B Aminiso = harbour waja #ai/a = earth, land Flowers/fruit/spices etc: adakisika a0dakissi/ka = adorned with ivory adoro a1doroj = receiving no gifts; unpaid; giving no gifts akumina a0ku/mina = without cumin? (arch. acc.) amawasi a3mai#asi = with violets asidatoi a0si/datoi = without pomegranate (dat. sing.) atade a1ttade = from father ditamana = dittany dudama = a kind of fruit = dates? (found in context with figs) ia i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets/ija See i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets (variation) kanaka kna/ka (arch. acc. of respect) = saffron Cf Linear B kanako kna/koj kapa/kapaqe/kapate/kapi karpa/ (arch. acc.) + karpa/te\ = fruit, and fruit, with fruit -or- kara kera/kero ke/raj = horn (ivory) -or- khr/oj = bees-wax Cf. Linear B kera kikina = some kind of fruit, quite likely grapes (from context) kireza = measurement of figs = 1 basket of figs carried on a shoulder kitai/kitei = kestai/ kestei/ = embroidered (lit.), but in context = basketry, basket(s) kupari ku/pairi (instr. sing.) <- ku/pairoj = marsh-plant used to feed horses, galingale or ginger kuruku kro/koj = crocus, saffron mera mela/j = black - or – me/la (arch. accus.) = honey merasasaa/merasasaja (very common) = something to do with honey/ honeycomb or honey drink? meto mesto/j = full, filled mireja mhle/a = apple tree -or- mh/leia (gen. sing.) = belonging to a sheep miru mh=lon = a sheep or goat -or- mh1lon = apple, tree fruit mirutarare = sheep pen? -or- apple orchard? mita mi/nqa = mint Cf. Linear B mita muru mu/ron = sweet oil extracted from plants; sweet oil; unguent; perfume Cf. Linear B musaja nira2 (nirai) -or- nita2 (nisai) OM = figs + ideogram = NI (in both Linear A & B) oteja o1steia <- o1streia = oyster pigment; oyster purple Cf. Linear B otawero o1streioj para para\ = beside, from beside, by the side of, beyond etc. patane OM = lentils? (fem. pl.) pimata PGS = pimento pita/pitaja pista/kion = pistachio-nut pitakase/pitakesi pista/kesi = with pistachio-nuts (instr. pl.) punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson ra2ri (rairi) = lily rima = lei=mac = garden -or- lei=mma = remnant, remains -or- lh=mma = income, receipts (dative/instrumental plural) rimisi See above (instr. pl.) rosa = rose rosirasiro = rosebush? sasame sasa/me = sesame Cf. Linear B sasa/ma sedina = celery Cf. Linear B serino se/linon tuma/tumei/tumi qumi/a = incense turunu qo/rnoj = throne Cf. Linear B tono qo/rnoj unana = penny royal? uro ou0=loj = entire, total. Cf. kuro ku=rwn = reaching, attaining i.e. = total waja #ai/a = earth, land Military: ia i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets/ija See i0a/ (n. pl.) = an arrow (sing.) & i1a (n. pl.) = violets (variation) ima i9ma/c = leather strap, thong; lash of a whip ira2 i1la=i = troops, companies, squadrons kara kara/ = head Cf. Linear B kara(pi) kara/afi kipisi ci/fisi <- ci/foj = with swords (instr. pl.) kito xitw/n = chiton Cf. Linear B kito koiru koi/ru <- koi/roj = hollow (ships) koru ko/ruj = helmet Cf. Linear B koru kuro/kurotu ku=roj = supreme power, authority & ku=rwn = reaching, attaining i.e. = total Cf. Linear B tosa to/sa kuto/kutu ku/toj = shield, cuirass qaro ba=lo/j = threshold qero be/loj = arrow, dart radu r9a/bdu <- r9a/bdoj = rod, switch; spear-staff or shaft ra2ti (raiti) r9aisth/r = a hammer, crusher sama/samaro sama/ro = burial ground Cf. Linear B Sama/ra sama/ra = place name -or- monument -or- grave mound OR sa/meron = today sere -or- rese seirei/ <- seira/ = with a cord or rope (instrumental sing.) tarasa = sea Cf. Linear B tarasa qa/lassa toraka qw/rac = breastplate, cuirass = Linear B toraka toro tau/roj = bull -or- qolo/j = dome or circular vault; vaulted building zuma zw=ma girdle, belt; girded tunic Pottery/vessels: aresana a1leisana <- a1leison = an embossed cup (arch. acc.) = de/paj (Homeric) Cf. Linear B dipa/arisu a1leisu <- a1leison = embossed cup daqera = a type of vase? darida = large vase, slightly smaller than a pithos daropa = stirrup jar depa/depu de/paj de/pu (acc.?)= cup Cf. Linear B dipa di/paj & Homeric de/pa dipa3a (dipaia) di/paia <- di/paj de/paj = from a cup dipaja di/paia <- di/paj de/paj = from a cup (alternate?) ipinama/ipinamina i0pneume/na (fem. sing.) = baked (bread)
itisapuko i1tija = round + pu/coj = box-wood -or- NMOM i1tija = round + puko = tripod = round tripod Cf. puko below
kadi kadi/ (instr. sing.) <- ka/doj = with a jar or vessel for water or wine kadusi ka/dusi <= ka/doj = with buckets or pails (instr. pl.) kairo kairo/j = due measure kaki/kaku xalku/ <- xalko/j = copper, bronze kakunete = bronze alloy - or – crafted in bronze karopa2 (karopai) = kylix with 2 handles-or- ka/rdoph = wooden vessel/vase kataro ka/nqa=roj = scarab (Egyptian) + drinking cup kera/kero ke/raj = horn (ivory) -or- khr/oj = bees-wax Cf. Linear B kera meto mesto/j = full, filled meza me/za (fem. sing.) = greater, bigger Cf. Linear B mezo me/zwn me/zoj nere = larger amphora size (fem. plural) posa po/sa= (arch. acc.) <- poi/si=j = drink(ing), beverage -or- po/sa <- po/soj = how great, how much, of what value? posi -or- sipo posi/ = on, upon Cf. Linear B posi -or- sipo = si/fwn = reed, straw, siphon puko= tripod Cf. Linear B pukoso pu/coj = box-wood. Apparently unrelated qapa3 (qapai) = (large) handle-less vase or amphora qapaja/qapajanai qapaja (genitive sing. of qapa3 (qapai)) qaqisenuti xalkei/a=senuti = with bronze craftsmanship qedi = a flagon (for wine) qeti (instr. sing.)/qetiradu = a very large pot, pithos Cf. Linear B PGS qeto pi/qoj supa3 (supai)/supa3ra (supaira) =small cup with handles Cf. Linear B dipa mewiyo supi/supu/supu2 = largest size pithos -or- supu/h sipu/h sipu/a i0pu/a = meal tub = suropa = some kind of vase? tisa = pottery worker/working on pottery/pottery wheel (tourney) Religious: ara a0ra/ = a prayer araju a0ra=u <- a0ra=oj = prayed for arati a0ra=ti/ <- a0ra/toj = with something unblessed Cf. makarite ― below atanate a0qa/na=te = with an immortal (instr. sing.) damate Da/mate = Damater Cf. Linear B Damate -or- da/matei = in the village dare da=lei/ <- da=lo/j = (with) a firebrand or torch/daro LIG da=lo/j = firebrand dewa -or- wide de/#a = goddess? dija/dije Di/ #a Cf. Linear B Diwija Di#i/a = priestess of Zeus dumitatira2 (dumitatirai) = left or right side of a spindle? (or verso) dura2 dou/lai = slaves (fem.) Cf. Linear B doera doe/la esija e3sti/a = hearth of a house Idamate/Idamete 0Idama/te = Mother goddess of Mount Ida Idarea 0Idar9ea = Rhea, goddess of Mount Ida ijate i0a/ter = doctor, physician Cf. Linear iyate i0a/ter iruja i0e/ruia = priestess Cf. Linear B iyereya i0e/reia jamauti i1amauti = as a means of healing <- i1ama i1amatoj = healing, remedy jarisapa = some kind of dress? Cf. Linear B sapa jasaja 0Ia=sai/a <- 0Ia=sw/ of/from the goddess of healing and health jasidara i0a=sida=la/ = healing torch/firebrand (arch. acc.) jate/jateo i0a=th/r = physician jatimane i0a=th/j mannei= = with the bread of healing mana/manapi (common) Hebrew manna= = (of spiritual food) bread from heaven, the supernatural food eaten by the Israelites in the desert maza/mazu ma=za = kneaded or unbaked bread, barley bread/cake miturea mi/toj 9Re/a= thread of a warp for Rhea narepirea narepir9e/a = Rhea, goddess of the snake/ snake goddess? pimitatira2 (pimitatirai) = right of left side of a spindle? -or- verso qajo ba/i"on = a palm branch (Kafkania pebble) ranatusu (agglutinative?) -or- r9anatusu < - r9anti/zw = to cleanse, purify rani r9a=ni/j = anything sprinkled (as in a libation); rain drop See also ratise ratise (ritise?) = la/tise <- la/taj = with drops of wine (instr. pl.) rea r9e/a = goddess, Rhea sea/sei se/a se/ei (dat. sing.) = snake goddess (from K. Bouzanis) seikama= seika/ma = a unit of land dedicated to a/the goddess taro tau=roj = bull tejai qei/ai = goddesses tuma/tumei/tumi qumi/a = incense turunu qo/rnoj = throne Cf. Linear B tono qo/rnoj wanaka = king wireu #i0eru/ <- #i0ero/j = priest Cf. Linear B iyero i0ero/j Textiles: arako a0ra/c = weaver Cf. Linear B arakateya a0laka/teiai = weavers
arakokuzu = weaver’s establishment?
datu = olive tree keda = cedar kidapa = ash wood? (a type of wood) Appears only on Linear B tablet KN 894 N v 01 kidaro kidaro ke/dron = juniper berry-or- kedri/a = oil of cedar Cf. Linear B kidaro kitanasija/kitanasijase kitanisija (gen. sing.) ki/rtanasia <- ki/rtanoj = terebinth tree Cf. Linear B kitano ki/rtanoj tarawita = terebinth tree Cf. Linear B kitano ki/rtanoj & timito ti/rminqoj tarina qalli/na (arch. acc.) <- qallo/j = a young shoot, twig; festive olive-branch Wine: aka -or- kaa a0ska/ (arch. acc.) <- a0sko/j = leather bag, wine skin apero a1mpeloj = a vine Cf. Linear B apero kupazu kou/fazu <- kou/fazoj = light (of wine) kuqani = a type of (fine) wine kuwa -or- waku ku/#a = girl Cf. Linear B kowa ko/#a – or – #a0sku/ <- #a0sko/j = leather bag or wineskin punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson qesizue (plural) = wine goblets? ratise (ritise?) = la/tise <- la/taj = with drops of wine (instr. pl.) unaa oi0nai/a = wine vessel, wine jug, wine jar winadu #i1nadu = vineyard Cf. Linear B winado winu #i/nu = wine Cf. Linear B wono #oi/noj winumatari #i/numa/tari = wine dedicated to Mother Earth ONOTOP: Adunitana Akanu/Akanuzati OP A0rxa/nej = Archanes (Crete) Arenesidi Asasumaino Asasumaise Asuja Cf Linear B Asiwiya A0si/#ia Demirirema Dawa = place name Cf. LB dawo Da/#oj / Da/#on Dikate = Mount Dikte Cf. Linear B Dikatade Diktai/oj Dupu3re Cf. Linear B Dupu2razo Dupurai/zoj Ida/Idaa/Idada/Idapa3 = Mount Ida Idunesi Ikurina Inajapaqa Itinisa = female resident of Itanos? Izurinita Kana/kanatiti/kanau Kanna Kanijami Kaniamis (female name)? Ketesunata Kina Kinna Kiso Kissos Kosaiti Cf. Linear B Kutaito Ku/taistoj (not necessarily the same place) Masuja Mekidi Megi/di <- Me/gaj = the Great Mesenurutu Midemidiu Pamanuita Raja/Raju 9Rai/a = Raia Cf. Linear B Raja rea PGS r9e/a = goddess, Rhea Rujamime Rukito Seimasusaa Setoija Sewaude Sezanitao Sikira/Sikirita Sima Suria Tainaro Ta2rimarusi Tejare TOP Cf. Linear B Tejaro qei/aroj = place of the gods? Tita = Ti=ta/n Uminase Waduna Wadunimi
More illustrations (Figures) for my article, “Pylos tablet Py TA 641-1952 (Ventris), the “Rosetta Stone” to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” in Vol. 12 (2016) of Archaeology and Science: PART A
More illustrations (Figures) for my article, “Pylos tablet Py TA 641-1952 (Ventris), the “Rosetta Stone” to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” in Vol. 12 (2016) of Archaeology and Science: PART A Here you see more of the Figures, many of them of actual Minoan Linear A tablets as I have deciphered them, which are to appear in my article, “Pylos tablet Py TA 641-1952 (Ventris), the “Rosetta Stone” to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” in Vol. 12 (2016) of the prestigious international annual, Archaeology and Science. It usually takes me between one and two hours to design each figure.
Richard Vallance Twitter KONOSO 1602 & Rita Roberts 548 followers for a total of 2,150!
Richard Vallance Twitter KONOSO 1602 & Rita Roberts 548 followers for a total of 2,150! Richard Vallance’s Twitter account, KONOSO, has now reached 1602 followers & Rita Roberts’ 548 followers, for a total of 2,150 followers! Amazing, considering how esoteric Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C are. Of course, Rita’s twitter account covers a far greater range of topics on the ancient world, archaeology, early modern historical goodies, and modern stuff too! The last time we checked in about 4 months ago, we only had about 1,500 followers between us. We are growing like gangbusters!
Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors
Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors: (Click the banner to visit) Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors after 3 1/2 years in existence. This may not sound very impressive to a lot of people, but when we pause consider, even for a moment, that our blog deals specifically and almost solely with Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C, the statistics look much more healthy. No-one on earth, apart from myself, can read any Minoan Linear A at all, and very very few can read Mycenaean Linear B or Arcado-Cypriot Linear C. So in this light, the statistics are all the more impressive. After all, even most of our our most loyal visitors cannot read at least 2 of these three syllabaries, even though several are adept with Homer and Classical Greek, as am I. By the way, our blog also features my own translation of the Catalogue of Ships in Book II of the Iliad, which has a direct bearing on the features of Homeric vocabulary and syntax inherited directly from Mycenaean Linear B. In this period, we have posted well over 1,300 posts, with translations of hundreds of Mycenaean Linear B tablets, scores of Minoan Linear A tablets and even a few Arcado-Cypriot tablets. Our media library consists of 10s of thousands of photos, images and frescoes & paintings. We are, in a word, the largest Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C site on the internet. Even omitting Linear A and Linear C, we rank in the top 3 of official Mycenaean Linear B sites.
The full range of marvelous, rich colours the Minoans at Knossos used on their stunning frescoes!
The full range of marvelous, rich colours the Minoans at Knossos used on their stunning frescoes! We notice right away that the colours they had at their disposal ran from various shades of yellows (saffron) and oranges to blues and various shades of purple. The Minoans at Knossos, Pylos, Thera (Thira, Santorini) and elsewhere were unable to reproduce green pigment. This minor drawback had little or no perceptible effect on the splendid results they almost invariably came up with in their breathtaking frescoes, the likes of which were not reproduced anywhere else in the Occidental ancient world, except perhaps by the Romans, especially at Pompeii. The Romans were able to reproduce greens. Two lovely frescoes from Pompeii:
Beautiful photos of some of the magnificent frescoes at Knossos, taken by Richard while he was there on May 1 2012
Beautiful photos of some of the magnificent frescoes at Knossos, taken by Richard while he was there on May 1 2012:
3 of my articles in Archaeology and Science ISSN 1452-7448 (2014, 2015, & 2016) + Vol. 12 (2016) Figure 1 & 2 Tables
3 of my articles in Archaeology and Science ISSN 1452-7448 (2014, 2015, & 2016) + Vol. 12 (2016) Figure 1 & 2 Tables: Figure 1 and 2 Tables (nos. To be assigned) as they will appear in the prestigious international hard-bound annual Archaeology and Science ISSN 1452-7448. Vol. 12 (2016). This annual generally runs to 250-300 pp. It is impossible to cross-correlate Minoan Linear A tablets from Mycenaean Linear B tablets by means of retrogressive extrapolation without explicitly taking into account the fact that almost all Minoan Linear A tablets are vertical in their orientation (just as with modern inventories), while the vast majority of Mycenaean Linear B tablets are horizontal in their orientation. For more on this critical factor in the reasonably accurate decipherment of Minoan Linear A tablet, see (Click on the banner): Articles published and to be published in Archaeology and Science (Belgrade) ISSN 1452-7448:  My article, “An Archaeologist’s Translation of Pylos Tablet 641-1952 (Ventris)” has already been published in Archaeology and Science (Belgrade) ISSN 1452-7448 Vol. 10 (2014). pp. 133-161 (Click banner to download it):  My article, “The Decipherment of Supersyllabograms in Mycenaean Linear B” is already slated for publication in the prestigious international annual Archaeology and Science (Belgrade) ISSN 1452-7448 Vol. 11 (2015), to be released in the spring of 2017. (Click the banner for the announcement):  My article, “Pylos tablet Py TA 641-1952 (Ventris), the ‘Rosetta Stone’ for Minoan Linear B tablet HT 31 (Haghia Triada) vessels and pottery” is to be published in the prestigious international annual Archaeology and Science (Belgrade) ISSN 1452-7448 Vol. 12 (2016) (Click the banner for the announcement): This major announcement is shortly to appear on my academia.edu account.
All new photos of the Museum of Prehistoric Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part C – Theran/Minoan ship
All new photos of the Museum of Prehistoric Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part C – Theran/Minoan ship Here are two photos of a lovely Theran/Minoan ship, the ultimate in luxury sailing, complete with a canopy and with a bowsprit sporting a sun and a gorgeous little butterfly. What exquisite taste these Therans and Minoans had!
All new photos of the Museum of Prehistoric Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part B
All new photos of the Museum of Prehistoric Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part B More beautiful frescoes:
All new photos of the Prehistoric Museum of Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part A
All new photos of the Museum of Prehistoric Thera, Santorini, by Thalassa Farkas, Canada, 2016: Part A The entrance to the museum: Some of the magnificent frescoes:
Symbaloo/Google search ranks Minoan Linear A, Linear B, Knossos & Mycenae as fourth largest on the Internet
Symbaloo/Google search ranks Minoan Linear A, Linear B, Knossos & Mycenae as fourth largest on the Internet: Since this is a Boolean AND search, if we omit sites dealing with only Minoan Linear A or only Mycenaean Linear B, which do not fulfill this requirement, our site ranks fourth. But since the site, Linear A and Linear B script: Britannica.com is a minor site, we actually rank third. Also, our PINTEREST board is ranked fifth (actually fourth). We have over 1.7 K Minoan Linear A & Mycenaean Linear B translations, photos, maps & images on our PINTEREST board, Minoan Linear A & Mycenaean Linear B, Progressive Grammar and Vocabulary. Click the banner to visit and join if you like!
An idea of how many impressions (tweets & retweets) a day my Twitter account, Konoso, gets = 6,552 today alone!… correction 7,114. I cannot keep up!
An idea of how many impressions (tweets & retweets) a day my Twitter account, Konoso, gets = 6,552 today alone! Click to visit & FOLLOW if you like! The snapshot of my Twitter account, Konoso, informs us that it has had 6,552 impressions (tweets & retweets) in the past 24 hours alone. This number varies daily from a low of about 1,200 to highs in around 6,500, as seen here. Busy Twitter account for something as esoteric as Minoan Linear A & Mycenaean Linear B, n’est-ce pas? These are at least my impressions, though certainly not all of them (pun!)
UPDATE on the military Minoan Linear A tablet HT 94 (Haghia Triada) = attendants to the king/foot soldiers
UPDATE on the military Minoan Linear A tablet HT 94 (Haghia Triada) = attendants to the king/foot soldiers: This tablet, HT 94 (Haghia Triada) contains the key military Minoan Linear A term, kapa, which is almost certainly the approximate equivalent to Mycenaean Linear B eqeta = “follower”. The term eqeta in Mycenaean Greek has a special connotation. It denotes an attendant to the king, wanaka, who is usually also the rawaketa = “leader of the hosts” i.e. “Commander-in-Chief”, which in the case of the Mycenaean expedition against Troy (ca. 1300-1250 BCE) would have been Agamemnon. It is notable that the ideogram, apparently for “man”, on the medallion is so large that it practically fills the entire surface. Note also the supersyllabogram KA which is surcharged top right. This medallion is not the Linear A tablet HT 94 (Haghia Triada), but its resemblance to the text of the latter is so striking it simply cannot be ignored. In addition, this ideogram is more elaborate than the standard one for “man” in Minoan Linear A, and bears an amazing resemblance to the fresco image of the eqeta above. For these two reasons alone, I have come to the firm conclusion that indeed kapa in Minoan Linear A is the close equivalent to eqeta in Mycenaean Linear B, with a scalar precision of 75 % or >. According to the renowned twentieth century Linear B expert and researcher, L.R. Palmer, the eqeta also appears to have had a religious function. It is highly unlikely there was such a person as a “follower” in pre-Mycenaean, Minoan society at Knossos. So we must take a stab at an approximation to the term eqeta in Minoan Linear A, i.e. kapa, which would probably have referred to attendants to the King, much in the same way as the Praetorian Guards who protected the sacrosanct person of the Emperor in post AD ancient Rome.
Proto-Slavic interpretation of Minoan Linear A tablet HT 13 (Haghia Triada) — another decipherment gone awry
Proto-Slavic interpretation of Minoan Linear A tablet HT 13 (Haghia Triada) — another decipherment gone awry (Click on Tablet below to READ the original): Pavel Serafimov, Anton Perdih, in their Translation of the Linear A Tablet HT 13 from Crete (above) have made a valiant attempt to cross-correlate their contextual reading of Minoan Linear A tablet HT 13 (Haghia Triada) with Proto-Slavic. At first glance, at least some points of their decipherment seem more or less “accurate”. But the global decipherment swiftly crumbles into a morass of self-contradictions, severe ambiguities and mismatched cross-purposes. Like so many other philologists struggling to decipher Minoan Linear A, Serafimov and Perdih make the practically universal assumption, which I for one categorically reject as superfluous and spurious (at least for the time being), that if we are to succeed in deciphering Minoan Linear A at all, we must be in contact with an actual “known” proto-language upon which, as so many philologists insist, Linear A must be based, believing as they do that there is simply no way to escape this paradoxical box of it-must-be-this-proto-language-or-nothing-at-all approach. The fundamental universal problem inherent to this approach is that each and every one of these would-be decipherers has boxed himself into a proto-language which he assumes, in utter faith and sometimes rash confidence, must be the proto-language upon Minoan Linear A must be based, come hell or high water. Yet it is obvious to any truly professional historical linguist or philologist that it is impossible for all of the so-called proto-languages touted as the base of Minoan Linear A to be the right base for it, given that no two of these so-called proto-languages are alike, even if they are in the same class of ancient languages, for instance, Proto-European.
It just does not wash. Either only one of these philologists has got it right or none of them have it at all. I am of the firm conviction that none of them have it. Let us take a closer look at just a few of these unavailing attempts at deciphering Minoan Linear A: First, we have J. MacGillivary’s review of various attempts to decipher Minoan Linear A, a very worthwhile read: Then, on Jan Best’s “Decipherment” of Minoan Linear A, by Gary A. Rendsburg
Next, Breaking the Code: a first translation of the ‘lost’ language of Linear A, by Sam Connolly Linear A Decipherment: Translation of Minoan Inscriptions in Linear A, by Stuart L. Harris Finally, there is the truly bizarre cross-correlation of Minoan Linear A with an ancient Niger-Congo dialect, by C.J.K. Campbell-Dunn What is worse is that all of the aforementioned books make the preposterous claim that they have in fact deciphered Minoan Linear A, a claim which no professional philologist or historical linguistic, including myself, would ever dare make. The only case I can rationally make is for a partial decipherment at best of Minoan Linear A, a venture which I have myself undertaken, with mixed results. While some of the 134 terms in my Minoan Linear A Glossary are more than likely to be correct, others may be (though with a lesser degree of accuracy), while yet others are open to serious doubt. EXCEPTION! which leaves me with the sole exception of David W. Packard’s Minoan Linear A, which relies solely on computational linguistics to analyze Minoan Linear A, and which is a study I for one shall order personally online (if at all possible, since it was published way back in 1974) and which I shall be keeping a very close eye on with reference to my own cross-correlative retrogressive extrapolations of Minoan Linear A tablets from their latter-day Mycenaean Linear B counterparts, where these exist: And I quote: The very first work done on this was done by David W. Packard, the son of Hewlett-Packard (company) co-founder David Packard. He published a book on his work back in 1974 called Minoan Linear A and I highly recommend it. I tried reading it when I first got interested in Linear A and it was way over my head, so I took a few years to familiarize myself with the inscriptions, symbols and patterns and then went back to it. Much better! Ilse Schoep also relied heavily on his data in her dissertation on the Haghia Triada tablets and was able to provide some updates to the data which had occurred since Packard's time, though her dissertation was an overview of the Haghia Triada administration rather than a computational approach. by Kim Raymoure I have cited just a few of the many fruitless attempts at deciphering Minoan Linear A, but at least this cross-section gives us all a clear overview of this highly specialized field of research.
PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B (NEWEST Boards):
PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B (NEWEST Boards): This is a reasonably comprehensive directory of PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B. To visit each board, simply CLICK on its banner, and sign up, if you like: NEWEST BOARDS: 1900 – 1600 BC Ancient Greek/Minoan Pottery (Click BANNER to visit): Ancient Mycenaean Culture Bronze Age Civiltà egea Homer’s Bronze Age Mediterraneo Minoan Fashion Minoans Mycenae Micenic_bronze age Richard Vallance — Linear Scripts, Superhero
PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B
PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B: This is a reasonably comprehensive directory of PINTEREST boards of interest related to Minoan Linear A & Mycenaean Linear B. To visit each board, simply CLICK on its banner, and sign up, if you like: MAJOR BOARDS Minoan Linear A, Mycenaean Linear B: Progressive Grammar & Vocabulary (Click BANNER to visit): Knossos & Mycenae, Sister Civilizations Cultura Minoica Antiche scritture Minoan Minoan | Mycenaean SCR Lineare prealfabetica Minoan: the Art and Culture of Knossos, Crete Archaeology – Minoan Minoan Civilization Minoan & Mycenaean Arts & Architecture Mycenaean, Minoan, Hittite
Mycenaean palace administrative hierarchy (POST 1,300)
Mycenaean palace administrative hierarchy (POST 1,300): Although we will never know the exact details of the Mycenaean palace administrative hierarchy, the table above gives us a pretty good idea of the power-base hierarchy from the King or wanax on down to the higher administrative officials, the mid-level officers and lower-level administrators, followed by the subaltern freemen, craftsmen and farmers and finally by the slaves. The names of each of the positions top-down follow in Latinized Linear B: 1. wanaka = King. The official residence of the King, or the Palace was called the wanakatero. 2. rawaketa = Leader of the Host, i.e. Commander-in-Chief. Sometimes, as in the case of Agamemnon, the General who lead the host (i.e. the army) into the Trojan War, the King and Commander-in-Chief are the selfsame person. 3. qasireu = prince potentate (slightly below the wanax & the rawaketa in the power hierarchy. 4. eqeta = the followers, professional foot soldiers and the personal guard of the wanax and the rawaketa. Cf. the Praetorian Guards of the Roman emperors. 5. teretai = aristocrats, called aristoi = the best people in later ancient Greek. These are the wealthy, upper class people protected by the wanax and rawaketa. 6. konosia rawaketa = (literally) the palace of Knossos for the Commander-in-Chief, i.e. his official residence, but in Knossos only. In Mycenae, his official residence would have been called the rawaketero. 7. konosia qasireu = (literally) the palace of Knossos for the prince potentate, but in Knossos only. In Mycenae, his official residence would have been called the qasireuo. AT THE NEXT LEVEL, we find the mid-level administrators: 8. porokorete = the district governors, meaning the rulers of the districts in the Mycenaean Empire, such as the district of Mycenae itself, and the districts of Knossos, Phaistos, Pylos and the Hither Provinces (the closer provinces, such as Tiryns, Pylos, Argos, Lerna etc.) and of the Farther Provinces (Thebes, Orochomenos, Eutresis etc.) 9. korete = so-called mayors or chief administrators of cities or primary settlements, such as Knossos, and the centres of the Hither and Farther Provinces. These officials reported directly to the porokorete. AT THE NEXT LEVEL, we find 10 the freemen or woko of the cities or primary settlements, such as craftsmen, artisans, farmers and tenant farmers, fishermen and finally, AT THE LOWEST LEVEL 11. chattel (privately owned workers) doeroi = slaves, temple slaves = rawaiai or temenoio doeroi and nawoio doeroi = galley slaves. P.S. This one is specially for you, Rita!
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