Heraklion Archaeological Museum in the context of "Bull-leaping"

Minoan art is the art produced by the Bronze Age Aegean Minoan civilization from about 3000 to 1100 BC, though the most extensive and finest survivals come from approximately 2300 to 1400 BC. It forms part of the wider grouping of Aegean art, and in later periods came for a time to have a dominant influence over Cycladic art. Since wood and textiles have decomposed, the best-preserved (and most instructive) surviving examples of Minoan art are its pottery, palace architecture (with frescos which include "the earliest pure landscapes anywhere"), small sculptures in various materials, jewellery, metal vessels, and intricately-carved seals.

It was influenced by the neighbouring cultures of Ancient Egypt and the ancient Near East, which had produced sophisticated urban art for much longer, but the character of the small but wealthy mercantile Minoan cities was very different, with little evidence of large temple-based religion, monarchs, or warfare, and "all the imaginative power and childlike freshness of a very young culture". All these aspects of the Minoan culture remain rather mysterious. Sinclair Hood described an "essential quality of the finest Minoan art, the ability to create an atmosphere of movement and life although following a set of highly formal conventions".

The Minoan civilization produced a wide variety of richly decorated Minoan pottery. Its restless sequence of quirky maturing artistic styles reveals something of Minoan patrons' pleasure in novelty while they assist archaeologists in assigning relative dates to the strata of their sites. Pots that contained oils and ointments, exported from 18th century BC Crete, have been found at sites through the Aegean islands and mainland Greece, in Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.

The pottery includes vases, figurines, models of buildings, and burial urns called larnakes. Several pottery shapes, especially the rhyton cup, were also produced in soft stones such as steatite, but there was almost no overlap with metal vessels. The finest achievements came in the Middle Minoan period, with the palace pottery called Kamares ware, and the Late Minoan all-over patterned "Marine Style" and "Floral Style". These were widely exported around the Aegean civilizations and sometimes beyond, and are the high points of the Minoan pottery tradition.

Helmets using ivory from boars' tusks were known in the Mycenaean world from the 17th century BC (Shaft Graves, Mycenae) to the 10th century BC (Elateia, Central Greece). The helmet was made through the use of slivers of boar tusks which were attached to a leather base, padded with felt, in rows. A description of a boar's tusk helmet appears in book ten of Homer's Iliad, as Odysseus is armed for a night raid to be conducted against the Trojans.

Fragments of ivory which might have come from helmets of this kind have been discovered on Mycenaean sites (at Dendra, for instance, fragments were found alongside the bronze panoply excavated in 1960) and an ivory plaque, also from a Mycenaean site, represents a helmet of this kind. Although they would not provide protection as good as that of a metal helmet, they may have been worn by some leaders as a status symbol, or a means of identification.

Two Minoan snake goddess figurines were excavated in 1903 in the Minoan palace at Knossos in the Greek island of Crete. The decades-long excavation programme led by the English archaeologist Arthur Evans greatly expanded knowledge and awareness of the Bronze Age Minoan civilization, but Evans has subsequently been criticised for overstatements and excessively speculative ideas, both in terms of his "restoration" of specific objects, including the most famous of these figures, and the ideas about the Minoans he drew from the archaeology. The figures are now on display at the Heraklion Archaeological Museum (AMH).

The Knossos figurines, both significantly incomplete, date to near the end of the neo-palatial period of Minoan civilization, around 1600 BCE. It was Evans who called the larger of his pair of figurines a "Snake Goddess", the smaller a "Snake Priestess"; since then, it has been debated whether Evans was right, or whether both figurines depict priestesses, or both depict the same deity or distinct deities.

The Hagia Triada Sarcophagus is a late Minoan 137 cm (54 in)-long limestone sarcophagus, dated to around 1400 BC or some decades later, excavated from a chamber tomb at Hagia Triada, Crete in 1903 and now on display at the Heraklion Archaeological Museum (AMH) in Crete, Greece.

Uniquely for such a piece from this date on Crete, it is coated in plaster and painted in fresco on all faces. Unlike the ancient Egyptians, 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 terracotta "ash-chests" (larnax), 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.

The Harvester Vase is a Late Bronze Age stone rhyton, dating to about 1550 to 1500 BC, found at Hagia Triada, an ancient "palace" of the Minoan civilization in Crete. It is now in the Heraklion Archaeological Museum, and is an important example of Minoan art from the Neopalatial Period.

The vase was made in three parts, of which the lowest is missing and has been replaced in modern times with undecorated plaster. A band of relief running around the widest part of the vase depicts marching men, and has variously been interpreted as a harvest celebration, a religious procession, or a military scene.