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pipe player, incense in the hand of one of the four rear participants and the jug of water for purification. The time of day of the sacrifice is night because chthonic rituals took place during the night, ouranic rituals took place during the day. The action of both the sacrifice scene and the libation scene moves from left to right. In
Egyptian religion, the left was the side of death and right was the side of life.
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sarcophagus, especially the queen, who is shown both in procession wearing a long robe and plumed crown, and then changed into a hide skirt to conduct ceremonies. In her view, in Minoan art "the plumed crown" is only worn by deities, griffins and the queen, who is, by definition, also the chief priestess. The king is only shown wearing the hide skirt. She cites
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arms and feet, who wears a full-length hide cloak-like garment, with gold edging; it is presumed that he represents the dead man receiving gifts (and the boat for his journey to the next world). The dead man stands outside what is presumably the elaborate entrance to his tomb, beside a tree, and three steps.
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At the left of the scene are five female figures in profile, facing the altar. Only the front one is complete, as a chunk of the plaster is missing, and the others are missing their upper bodies. The front figure has a large crown with long plumes, probably of feathers. She holds her hands in front
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tablets. The dead man (lowest object) receives the "water" as nourishment because the dead did not feed on solid food, but rather on liquids. Therefore, the calves are symbolic food for dead. The stairs in front of the dead man's tomb, an
Egyptian concept, allows the spirit of the dead man to ascend
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The narrative scene on the second long side (called here the "front") is also divided into three zones with different background colours. On the left, with a white background, there are three left-facing figures. Firstly a woman wearing a hide skirt apron is emptying a decorated vase or bucket into
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In the central section, with a blue background, three men wearing hide aprons or kilts face right and carry models of animals (probably bulls) and a boat. They seem to be approaching the only figure in the right-hand section, with a white background. He is a static left-facing male figure without
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The long painted scenes show the stages of the sacred ceremony which was performed at the burial of important personages. In the centre of one of the long sides of the sarcophagus (here called the "rear" side, purely for convenience) is a scene with a sacrifice of a bull, who is lying tethered on a
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The libation scene has seven participants giving force to the offering. The two birds in gold color on baetyls sit on double axes and are the highest objects in the scene indicating they are deities in epiphany. The blood in the sacrifice scene is transformed into water because it quenches lips of
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There are seven participants in the sacrifice scene with hands down palms down possibly indicating a forceful prayer or invocation of the chthonic deity behind the low altar in epiphany. Also, the sacrifice scene has three other elements common in sacrifices in
Classical Greece, the presence of a
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in Egypt, a period of extensive contact between Crete and Egypt, thus allowing the sarcophagus's technical and artistic elements to be related to similar decorative techniques in
Egyptian temples and tombs. Some miniature sculpture found in other places of Crete (Kamilari, Archanes) during this
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The high altar is reserved for the ouranioi, deities of the heavens. Above the low altar, chthonic altar, are two objects, a jug of water and a basket of fruits of the earth (standard
Egyptian icon). The jug of water is for purification of the sacrifice participants who wash their hands before
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In the final section the background colour changes again to a blue that is now rather muddy. A female figure with a skirt or apron of shaggy animal hide faces away from the bull towards the right. She holds out both arms over a bowl on a pedestal or altar. Shown as in the air beside her are a
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and a tree with seven branches. Most often, but not always, the horns of consecration are found in high places in Minoan religious art indicating they related to the ouranioi. The tree, with seven branches, may be a tree representing regeneration and the seven branches is an
Egyptian number
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ruled by a royal couple of a priest-king and queen, combining political and religious roles (the queen perhaps more central to the latter) suggests the hide skirt reflects close involvement with ritual sacrifices and offerings, and that the same royal figures are shown more than once on the
279:), painted far more crudely, usually in a single colour. It is the only object with a series of narrative scenes of Minoan funerary ritual (later sarcophagi found in the Aegean were decorated with abstract designs and patterns). It was probably originally used for the burial of a prince.
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on walls, and sometimes floors and ceilings. Each of the long sides has a long section with a narrative figure scene of religious ritual. One of the short end sides has a roughly square section with a scene of a chariot with two figures, presumably goddesses as they are pulled by a
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period are connected with the worship of the dead and there are traces of a true funereal
Egyptian cult at the same period. Funereal cults were not common in Crete, but they were practised in certain instances: at the tombs of dead kings, or possibly of higher officials and kings.
485:, earth deities: position of the hands of the worshipers, level of the altar and color of the deity. The position of the hands of the participants is hands down, palms down indicating the deity invoked is a chthonic deity who is the deity in epiphany as a black bird on the
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table-like altar. Under the altar are at least two smaller animals, variously described as calves, deer or goats, possibly terracotta models like those being carried on the other side, or real ones waiting to be sacrificed. Behind this is a male figure playing the
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a large metal cauldron; this might be blood from the sacrifice on the other side, possibly as an invocation to the soul of the deceased. The cauldron appears to sit on a tripod, and stands between two poles on decorated bases. The poles are topped with
331:(possibly two), above which hovers a large bird. The other end has two scenes, the upper almost entirely missing, but probably with a procession of male figures. The lower scene again has two figures in a chariot pulled by two horses.
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behind the low altar, the altar for the chthonioi, who has black color, the color of the chthonioi. The position of the throat of sacrificial animal, the bull, is down indicating the sacrifice is for the chthonioi or chthonic deity.
80:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
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These scenes are surrounded by ornamental borders covering the remaining areas. These are comparable to the decorative borders around Minoan wall-paintings, although larger in relation to the figures. The ornament includes
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double axe at the top and a black bird sitting on this. This has a chequered base; or perhaps this is a step up to the final element, either an altar or a building (in which case probably the tomb). This is topped by four
792:Παπαγιαννοπούλου Α. 1999, «Εισαγωγή στους πολιτισμούς του Αιγαίου» στο Παπαγιαννοπούλου Α. Πλάντζος Δ. Σουέρεφ Κ. Ελληνικές εικαστικές τέχνες: Προϊστορική και κλασική τέχνη, τομ Α΄, ΕΑΠ, Πάτρα. (Papagiannopoulou A. 1999,
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symbols and a bird each above that. Behind the first woman a richly-dressed woman wearing a crown is carrying two vessels on a yoke over her shoulders. Behind her a man dressed in a long robe is playing a seven-string
271:, the Minoans only used frescoes to decorate palaces and houses for the enjoyment of the living, not for funerary use. It is the only limestone sarcophagus of its era discovered to date; there are a number of smaller
343:. Immediately above and below the narrative scenes on the long sides are thin blank (white) strips, into which some elements of the scenes intrude at the top. On the sides the strips are a mixture of colours.
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symbols, and also a tree. Both the structures in this part of the scene have decoration including spiral scrolls and stripes that is comparable to that on the borders on the sarcophagus.
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of her, with open palms. This section has a yellow background, which changes to white at the altar. Blood pouring from the altar table is falling into a bucket or
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Recent 20th century excavations on the same site have allowed the sarcophagus's dating to be tightened up to 1370-1320 BC, which coincides with the end of the
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the offering of fruits of the earth was made to a chthonic deity just as on the Hagia Triada
Sarcophagus. On the high altar, altar for the ouranioi, are the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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417:. This is the earliest picture of the lyre known in Greece. This scene brings to mind a description in Homer, where the dead needed blood.
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Brekke, Stewart E. "The Hagia Triada
Sarcophagus: Egyptian Influence on Minoan Religion." The Ancient World, Spring 2010, p.156-167.
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All four faces of the sarcophagus are fully painted in several colours, using the fresco technique otherwise only found in
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Content in this edit is translated from the existing French
Knowledge (XXG) article at ]; see its history for attribution.
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German; J.A.Sakellarakis, "Herakleion Museum. Illustrated guide to the Museum" pp. 113,114. Ekdotike Athinon. Athens 1987
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1998, Music in the Aegean Bronze Age. Jonsered, Paul Äströms Förlag, Sweden. Jonsered, Paul Äströms Förlag, Sweden.
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J.A.Sakellarakis"Herakleion Museum. Illustrated guide to the Museum" p. 114. Ekdotike Athinon. Athens 1987
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J.A.Sakellarakis."Herakleion Museum.Illustrated guide to the Museum" p 53.Ekdotike Athinon.Athens 1987
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into the realm of the living. The tree on a sarcophagus in ancient Egypt represented regeneration.
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ceremony and one of the best pieces of information on noble burial customs when Crete was under
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The Hagia Triada Sarcophagus: Interconnections Between Crete and Egypt in the Late Bronze Age
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double flute. He is painted red in the usual Minoan convention, unlike the white females.
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The sacrifice scene may in part be interpreted by the following criteria from classical and
352:, the sarcophagus has no lid, and none was apparently intended. It also has drainage holes.
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decorated vase and a bowl with fruit-like round objects. In front of this is a pole with a
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Uniquely for such a piece from this date on Crete, it is coated in plaster and painted in
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Sarcophagus displayed at the Heraklion Archaeological Museum in Crete, Greece
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and Mycenaean style and subject matter, as well as probable influence from
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It provides probably the most comprehensive iconography of a pre-Homeric
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to the source of your translation. A model attribution edit summary is
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796:, Papagiannopoulou in Plantzos D. A. K. Soueref
813:A Goat-Chariot on the Hagia Triada Sarcophagus
805:A Goat-Chariot on the Hagia Triada Sarcophagus
115:accompanying your translation by providing an
60:Click for important translation instructions.
47:expand this article with text translated from
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513:the "thirsty dead" as mentioned in the Pylos
364:Scene on the "rear" side, with bull sacrifice
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794:Introduction to the cultures of the Aegean
773:Minoan Religion: Ritual, Image, and Symbol
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403:Scene on the "front" side, with offerings
244:137 cm (54 in)-long limestone
571:See also A. Papagiannopoulou 1999, 118.
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822:Younger John G. Younger John G. 1998,
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1439:Archaeological discoveries in Crete
383:at the right of this section.
1266:Minoan frescoes from Tell el-Dab'a
549:Late Minoan painted model bull in
536:Archaeological Museum of Heraklion
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1434:1903 archaeological discoveries
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1409:Heraklion Archaeological Museum
1368:Archaeological Museum of Chania
1363:Heraklion Archaeological Museum
1291:Papoura Hill Circular Structure
824:Music in the Aegean Bronze Age.
817:American Journal of Archaeology
809:American Journal of Archaeology
258:Heraklion Archaeological Museum
1373:Archaeological Museum of Sitia
753:The Mycenaean Cult of the Dead
125:You may also add the template
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739:"The Agia Triada sarcophagus"
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1281:Minoan Moulds of Palaikastro
290:rule, combining features of
138:Knowledge (XXG):Translation
97:will aid in categorization.
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760:"Hagia Triada sarcophagus"
652:Martino, Paula 2005, 10-16
72:Machine translation, like
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505:signifying completeness.
496:sacrificing the bull. In
296:Ancient Egyptian religion
267:on all faces. Unlike the
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49:the corresponding article
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751:Gallou Chrysanthi 2005,
260:(AMH) in Crete, Greece.
238:Hagia Triada Sarcophagus
154:Hagia Triada Sarcophagus
18:Hagia Triada sarcophagus
1301:Wall Paintings of Thera
1216:Snake goddess figurines
339:, stripes, and rows of
136:For more guidance, see
1221:La Parisienne (fresco)
800:, vol D, HOU, Patras.)
787:The Splendor of Greece
743:Ancient World Magazine
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1231:Prince of the Lilies
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1286:Minoan Bull-leaper
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1161:Mount Juktas
1141:Psychro Cave
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1236:Stirrup jar
1131:Arkalochori
1124:Sanctuaries
1090:Nea Roumata
1034:Monastiraki
994:Palaikastro
977:Settlements
837:page at AMH
446:Iconography
310:Description
246:sarcophagus
1419:Minoan art
1394:Sarcophagi
1388:Categories
1171:Traostalos
1115:Yerokambos
1044:Vathypetro
890:Minoan art
732:References
551:terracotta
433:Other side
273:terracotta
240:is a late
197:Discovered
1146:Atsipades
1095:Odigitria
1070:Apesokari
1049:Zominthos
483:chthonioi
459:theocracy
318:Side view
288:Mycenaean
221:Heraklion
172:Limestone
131:talk page
83:Consider
51:in French
1351:See also
1322:Linear B
1317:Linear A
1251:Kouloura
1176:Vrysinas
1166:Petsofas
1080:Kamilari
1039:Vasiliki
1009:Troullos
953:Phaistos
771:, 1993,
589:Brouwers
515:Linear B
488:baetylus
479:ouranioi
349:larnakes
341:rosettes
168:Material
107:provide
1310:Writing
1136:Kamares
1105:Phylaki
1100:Phourni
1085:Koumasa
1024:Amnisos
1014:Trypiti
1004:Gournia
999:Kydonia
968:Galatas
948:Knossos
941:Palaces
815:in the
464:Hittite
346:Unlike
337:scrolls
329:griffin
203:Faistos
192:1400 BC
186:Created
129:to the
111:in the
53:.
1110:Stylos
1065:Armeni
1029:Petras
1019:Lakkos
989:Kommos
963:Zakros
883:Topics
724:Brekke
715:Brekke
706:Brekke
697:Brekke
616:German
580:German
532:larnax
468:Ugarit
410:labrys
389:labrys
381:rhyton
292:Minoan
277:larnax
265:fresco
242:Minoan
229:Greece
211:Greece
1151:Karfi
1058:Tombs
958:Malia
934:Sites
559:Notes
372:aulos
254:Crete
225:Crete
207:Crete
74:DeepL
1156:Modi
415:lyre
236:The
200:1903
178:Size
105:must
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67:View
425:Age
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