Mycenaean Art – A Deep Dive into Mycenaean Artifacts
The Mycenaean people were native Greeks who lived on mainland Greece during the mid-to-late Aegean Bronze Age, centuries before Classical Greek culture. The Mycenaeans had a distinct culture and extensive trading networks, and were also influenced by the Minoans. This article explores Mycenaean frescoes, paintings, artifacts, and sculptures.
A Brief History of Mycenaean Art
Mycenaean art flourished in ancient Greece throughout the Bronze Age, approximately from the 16th to the 11th centuries BCE. The Mycenaeans were named after Mycenae, one of the civilization’s most prominent hubs. Mycenaean art was inspired by older cultures, such as the Minoans of Crete. Mycenaean art also shows influence from Egypt and the wider Near East, carried mainly through trade networks rather than direct contact. The Mycenaean era was prosperous, noted for its magnificent palaces, castles, and tombs. With enormous structures, exquisite frescoes, and opulent gold jewelry, Mycenaean art symbolizes this prosperity and influence. The Lion Gate at Mycenae is a well-known specimen of Mycenaean art.
This gate takes its name from the relief carved above its lintel: two lionesses, or lions (their heads were carved separately from a different material and are now lost, so the species cannot be confirmed), standing on either side of a central column, cut in high relief from a single limestone slab. It is the only piece of monumental sculpture known to survive from the Aegean Bronze Age. Mycenaean art also features ceramics ranging from modest storage jars to ornate vases. Geometric designs and scenes of daily life, such as fishing, hunting, and farming, decorated Mycenaean ceramics. The Mycenaean civilization died out around the 11th century BCE, likely from a mix of invasions, internal strife, and natural calamities.
As civilization perished, Mycenaean art and architecture influenced the subsequent cultures, notably the ancient Greeks.
Mycenaean Art Timeline: The Turning Points
Mycenaean art developed through distinct phases, each tied to a shift in power or contact with neighboring cultures.
| Period | Approx. Date | What Changed |
| Shaft Grave era | c. 1600-1500 BCE | Sudden wealth appears at Mycenae; the gold masks and grave goods of Grave Circle A mark the rise of a warrior elite. |
| Mycenaean expansion to Crete | c. 1450 BCE | Mycenaeans take control of the Minoan palace at Knossos, and Minoan artistic conventions are absorbed most intensively. |
| Palatial period | c. 1400-1200 BCE | Fortified citadels and frescoed palaces are built at Mycenae, Tiryns, and Pylos; Mycenaean pottery is exported widely. |
| Destruction of the palaces | c. 1200 BCE | Palace centers are destroyed; pictorial vases such as the Warrior Vase mark a harder, more schematic late style. |
| Collapse | c. 1100 BCE | Mycenaean civilization ends, closing the Bronze Age in Greece. |
Mycenaean Art vs. Minoan Art: How to Tell Them Apart
Because Mycenaean art grew out of Minoan models, the two are often confused. A few features usually settle which is which:
| Feature | Minoan Art | Mycenaean Art |
| Setting | Unwalled palaces, such as Knossos on Crete | Palaces enclosed by massive Cyclopean fortification walls, as at Mycenae and Tiryns |
| Figures | Slender-waisted, fluid poses, a sense of movement | Stiffer, more frontal poses; flat feet and static stances even in action scenes |
| Subject matter | Marine life, plants, ritual and nature | Warfare, hunting, chariots, and military gear, themes with little Minoan parallel |
| Pottery decoration | Naturalistic marine and floral motifs | Increasingly stylized, geometric patterns alongside narrative scenes of soldiers |
| Signature find | Frescoes of the palace at Knossos | The Lion Gate relief and the gold grave goods of Mycenae’s Grave Circle A |
Exploring Mycenaean Art
Direct ancestral relationships between Aegean cultures were long hypothesized but unconfirmed; linguistic, genetic, and archeological research now shows the Mycenaeans and Minoans are substantially related to ancient and modern Greeks. Today, Mycenaeans are best known for the wealth of artifacts found buried beneath the ruins of Mycenae, the largest of several recognized Mycenaean citadels.
Mycenaean Artifacts
With its immense stone structures, Mycenaean architecture is often referred to as Cyclopean, a reference to the Greek mythological giant Cyclops. The beehive-shaped tomb is one monumental type that was built mostly of ashlar masonry and occasionally covered in dirt to seem like a natural mound. The greatest of these tombs, discovered just outside the Mycenae citadel, is commonly known as the Treasury of Atreus, (Atreus was a mythological Mycenaean ruler). While this tomb was plundered before its contents could be documented, Heinrich Schliemann’s 1876 excavation inside the citadel walls uncovered the shaft graves of Grave Circle A, which yielded extraordinary Mycenaean artifacts. A second, older cluster of shaft graves, Grave Circle B, was found outside the walls decades later by Greek archaeologists.
The tombs, thought to be burial sites for Mycenaean rulers and their families, had a variety of artworks interred with the dead, providing researchers with insights into the composition and lifestyle of the civilization from which they originated.
The wealth shown in the shaft graves at Mycenae, and the authority of the warrior classes for whom these artifacts were produced, had no direct precursor in Greece; the rise of regional hubs like Mycenae marks a wholly new age in the Aegean. Ancient funerary masks were among the Mycenaean artifacts discovered in the shaft burials, and Schliemann initially claimed that one belonged to Agamemnon, the legendary son of Atreus. Later dating placed that mask roughly three centuries before Agamemnon’s supposed lifetime, discrediting the identification. Nobody knows if these masks were intended to be portraits, although the artisans took pains to capture various physical traits.
The masks recovered in Grave Circle A depict both young and old faces. Other artifacts from these shaft tombs include finely decorated metal and gold cups, weaponry, and jewelry, demonstrating the Mycenaeans’ metallurgical skills. This required mastery of repoussé, hammering shapes from the back of a metal sheet into relief, with details then added from the front. Scholars believe the complex Mycenaean political and economic structure produced increased luxury among aristocratic members, an affluence these burial artifacts attest to.
Mycenaean Jewelry and Goldwork
Beyond the funerary masks, Mycenaean goldsmiths worked in filigree and granulation for beads and pendants, and in repoussé for cups, diadems, and ornamental bands. The most celebrated example of this metalwork is the pair of Vapheio Cups, found in a tholos tomb near Sparta and dated to the first half of the 15th century BCE, now in the National Archaeological Museum in Athens. The two cups show contrasting methods of capture: on one, bulls are driven into a net, while on the other a decoy cow lures a bull that is then roped by the hind leg, hammered in relief from the reverse of the sheet gold; the scenes are usually attributed to Cretan craftsmen working for a Mycenaean patron. Engraved gold signet rings, often carved with processions or tree-and-pillar worship scenes, and beads of amber, most of it originating in the Baltic region and reaching Greece through long chains of overland and coastal trade, round out a picture of a society commanding materials and skills from far beyond its own shores.
Mycenaean Sculptures
Though rising power and wealth enabled the Mycenaeans to create grander sculptures than earlier Aegean cultures, the most common pieces unearthed in their tombs and graves were modest figurative sculptures. The majority of Mycenaean sculptures depicted female figures with round or expanded midsections and varying arm poses. Though resembling the simple carved Cycladic figurines of the early Bronze Age, Mycenaean tomb sculptures are often terracotta, clay baked in kilns, and less geometrical in form. They also typically have well-preserved painted features. Many of these Mycenaean sculptures have the same upraised arm gesture first observed in Minoan “goddess” monuments.
There is such a variety of these Mycenaean figures that they are divided into three primary categories based on the motions of their arms and were titled after the Greek letters phi, tau, and psi.
The tau figures tuck their arms into their breast, the phi figures clutch their hands over their stomach, and the psi figures lift their hands. Like with other Aegean artworks, the function of these Mycenaean sculptures can only be speculated. Experts believe these are deity representations for votive purposes or toys for children, as several have been discovered in children’s tombs. Given the variety of discovery locations and indications that some were intentionally damaged and abandoned, they could have served particular functions both during and after life. That many of these statues appear at sites of worship in the Archaic and Classical periods suggests a religious function, possibly as votives, and that some later places of worship may have originated in the Mycenaean period.
Mycenaean Vessels
Mycenaean vessels had parallels across a wide region of the Eastern Mediterranean during the Late Mycenaean era, probably reflecting a broadly shared Mycenaean material culture and extensive exchange among several palatial states. Nonetheless, Crete’s Minoan pottery stayed unique during this period, demonstrating a level of independence on the island. Stirrup jars, big bowls, krater, alabastron, and stemmed cups resembling champagne glasses were all created in vast quantities by the Mycenaean Greeks.
Stirrup jars, in particular, were created in the 16th century BCE on the island of Crete and were extensively used by the Mycenaean people from 1400 BCE onward for carrying and preserving oil and wine; the jars were generally globular or pear-shaped.
Stemmed cups developed from Ephyraean goblets, and a huge amount was uncovered in Zygouries at a location known as the “Potter’s Shop”. Mycenaean drinking containers, including stemmed cups, have single ornamental motifs painted on the exterior facing away from the drinker, which may include an octopus, shell, or a flower. The Mycenaeans also painted full scenes on their vessels, representing soldiers, horses, chariots, and processional figures; whether any of these scenes illustrate specific myths remains a matter of interpretation. Additional Mycenaean creations include clay lamps and metallic objects such as bronze tripod cauldrons. There are also a few instances of faience and ivory vessels.
The Warrior Vase, a large krater made around 1200 BCE, depicts a woman waving farewell to a band of departing warriors. The image is plain, with no backdrop. The warriors all wear helmets and wield round shields and spears. Knapsacks are tied to their spears, implying that they have to travel considerable distances to fight. On one side, the troops wear helmets decorated with horns. The warriors on the opposing side are outfitted in hedgehog-style helmets.
There is no way to know which person the woman is waving farewell to because all of the characters are generic and none of them interact with her or with one other.
The figurines are stocky, with no sinuous lines like the painted Minoan characters. While the men have wide stances and seem to walk forward, their flat feet and twisted-viewpoint bodies hinder any sense of movement. The figurines, rather, stay immobile and erect. The artwork represents a simple tale that must have been reenacted frequently in the Mycenaean warrior culture.
Mycenaean Bronze Daggers
Artistic bronze daggers discovered in burial shafts indicate that Mycenaean craftsmen were influenced by a diverse range of cultures. These ceremonial daggers were crafted of bronze and inlaid with motifs obviously inspired by foreign civilizations in gold, silver, and niello. Two unearthed daggers represent hunting scenes, indicating an Ancient Near East influence.
The first scene portrays lions hunting prey, while the second portrays a lion hunt.
The depiction of the figures in the lion chase scene is strongly inspired by Minoan art figures. These men have slim waists, wide shoulders, and powerful thighs. Another Minoan influence is the scene between the humans and the lions, which is dynamic and full of vitality. Another dagger demonstrates the impact of Minoan painting and iconography in the representation of sea life, while Egyptian themes can be observed on a dagger laden with papyrus reeds and lotuses, as well as birds.
Mycenaean Frescoes
The Mycenaean Frescoes originated in Minoan Crete, where they first emerged about 1700 BCE in chambers of palaces and other opulent buildings. The first Mycenaean paintings were created in the 15th century, roughly during the second building period of the Minoan palaces. While Minoan influence was strongest in the early Mycenaean era, this art likely entered mainland Greece even earlier. Some archaeological evidence, such as colored plasters of structures from the Middle Helladic era and fresco pieces from the citadel of Mycenae discovered with pottery from the Late Helladic I and II eras, support this theory.
The majority of Mycenaean paintings are from the 14th and 13th century BCE and are associated with the palace apartments of Tiryns, Mycenae, and Pylos, or with local leaders’ seats such as Argos, Gla, and the Menelaion.
Fresco decoration was a clear sign of distinction, but its presence in private buildings shows it was not an exclusive luxury of the leaders. Apart from their presence in official architecture, Mycenaean frescoes have been uncovered at prominent people’s tombs and religious places. Like Minoan frescoes, Mycenaean paintings were compositions drawn on plaster using the fresco method. The design needed to be finished before the plaster dried, so painting large iconographic compositions required considerable skill and many artisans working simultaneously.
The paints used were earthy tones: red, blue, yellow, and black. The same method was used on portable Mycenaean artifacts, as seen by the painted tombstones, clay larnakes, and numerous limestone-plastered tiles. The subjects of the Mycenaean paintings may be divided into three categories: iconographic depictions of the population’s religious life, portrayals of the ruling class’s favorite activities, and abstract ornamental themes. The latter is used as a frame for the images as well as ornamental coverings on floors, ceilings, and other surfaces. The fresco decorating process was divided into three stages. The primary painting sat at the center of an outlined jamb painted to resemble veined marble, set within a decorative band.
The portrayal of architectural materials, particularly wooden beams, was also popular.
The so-called miniature style, shown on long friezes with small-scale figures, has a distinct Mycenaean character. In iconographic depictions, Cretan influence is apparent in both design and choice of subjects. The Mycenaean paintings, like the Minoan frescoes, feature bull-leaping, malevolent monsters, and architectural aspects. The hunting and war scenes, as well as processions of ladies in costume bringing offerings, were uniquely Mycenaean subjects. These fresco themes depict the Mycenaean aristocracy’s religious and heroic spirit.
The war scenes have a narrative quality and likely portray specific historical events. The same subjects and classification of themes recur in Mycenaean ivory carving, ceramics, and seal engraving. By the 13th century BCE, paintings no longer based on Minoan models developed a distinct Mycenaean character, marked by schematization, stiffness, and increasingly abstract composition. The collapse of the palaces about 1200 BCE signaled the end of mural painting associated with governmental buildings. The sole remnants of the ancient art are a few makeshift paintings at the shrine of Tiryns’ Lower Citadel.
The Influence of Mycenaean Art
Mycenaean art had a profound effect on future cultures, notably the ancient Greeks. Mycenaean pottery was distinguished by elaborate patterns, sometimes painted in dark colors on a light backdrop. This ceramic type had an impact on subsequent Greek pottery, feeding into the Protogeometric and Geometric styles that emerged after 1100 BCE.
Mycenaean frescoes and vase paintings depicted battle and hunting scenes whose themes echo through later Greek epic. Many scholars read the Trojan War tradition preserved in Homer as a distant memory of Late Bronze Age conflict, reshaped over centuries of oral retelling.
Mycenaean craftsmen were skilled in gold and jewelry fabrication, which inspired subsequent Greek jewelry-making. Later Greek jewelry continued the elaborate motifs of Mycenaean jewelry. Mycenaean monumental architecture, such as the Lion Gate at Mycenae, inspired subsequent Greek architecture. Several aspects of Mycenaean architecture, including massive stone blocks and columns, were adopted by later Greek structures.
Frequently Asked Questions
Who Were the Mycenaeans?
At its peak, the Mycenaean civilization was a prominent power in the eastern Mediterranean. The Mycenaeans were skilled warriors and traders who built a sophisticated government and social order. They produced art still studied and admired today, along with palaces, fortresses, and tombs. The Mycenaeans were a Greek-speaking population of the mainland whose ancestry, genetic studies indicate, was largely local, with a smaller component from the eastern Aegean and Anatolia. They spoke a dialect of Greek known as Mycenaean Greek, which is one of the oldest varieties of the Greek language to be documented.
What Characterized Mycenaean Art?
Mycenaean art is marked by colossal fortified structures, formal frescoes, decorated ceramics, and gold jewelry. The art usually illustrates themes from mythology, military equipment, and everyday life. Mycenaean artisans used varied methods, including relief carving, goldsmithing, and fresco painting. Animals like lions and bulls are often depicted in artwork, along with geometric designs and floral elements.
Where Can You See Mycenaean Art Today?
The largest collection is at the National Archaeological Museum in Athens, which holds the Grave Circle A finds, including the gold funerary masks, as well as the Vapheio Cups from the tholos tomb near Sparta. The site museum at Mycenae displays material excavated locally, and pieces of Mycenaean pottery and metalwork are also held by major international collections, including the Metropolitan Museum of Art in New York.
Did the Mycenaeans Have a Writing System?
Yes. The Mycenaeans wrote in Linear B, a syllabic script adapted from the earlier Minoan Linear A and used mainly to record palace administration, such as inventories, rations, and land holdings, rather than literature. It was deciphered in 1952 by the architect and self-taught linguist Michael Ventris, who showed that the language behind the script was an early form of Greek.
Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.
Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20th century, as well as the important impact that female artists have had on the development of art history.
Learn more about Isabella Meyer and the Art in Context Team.
Cite this Article
Isabella, Meyer, “Mycenaean Art – A Deep Dive into Mycenaean Artifacts.” Art in Context. June 1, 2023. URL: https://artincontext.org/mycenaean-art/
Meyer, I. (2023, 1 June). Mycenaean Art – A Deep Dive into Mycenaean Artifacts. Art in Context. https://artincontext.org/mycenaean-art/
Meyer, Isabella. “Mycenaean Art – A Deep Dive into Mycenaean Artifacts.” Art in Context, June 1, 2023. https://artincontext.org/mycenaean-art/.
