Aegean civilization in the context of "Bronze Age collapse"

The art of Europe, also known as Western art, encompasses the history of visual art in Europe. European prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the period between the Paleolithic and the Iron Age. Written histories of European art often begin with the Aegean civilizations, dating from the 3rd millennium BC. However a consistent pattern of artistic development within Europe becomes clear only with Ancient Greek art, which was adopted and transformed by Rome and carried; with the Roman Empire, across much of Europe, North Africa and Western Asia.

The influence of the art of the Classical period waxed and waned throughout the next two thousand years, seeming to slip into a distant memory in parts of the Medieval period, to re-emerge in the Renaissance, suffer a period of what some early art historians viewed as "decay" during the Baroque period, to reappear in a refined form in Neo-Classicism and to be reborn in Post-Modernism.

Sir Arthur John Evans FRS FBA FREng (8 July 1851 – 11 July 1941) was a British archaeologist and pioneer in the study of Aegean civilization in the Bronze Age.

The first excavations at the Minoan palace of Knossos on the Greek island of Crete began in 1877. They were led by Cretan Greek Minos Kalokairinos, a native of Heraklion. Three weeks later Ottoman authorities forced him to stop (at the time, Crete was under Ottoman rule). Almost three decades later, Evans heard of Kalokairinos' discovery. With private funding, he bought the surrounding rural area including the palace land. Evans began his own excavations in 1900.

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 art of Europe, also known as Western art, encompasses the history of visual art in Europe. European prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the period between the Paleolithic and the Iron Age. Written histories of European art often begin with the Aegean civilizations, dating from the 3rd millennium BC. However a consistent pattern of artistic development within Europe becomes clear only with Ancient Greek art, which was adopted and transformed by Rome and, with the Roman Empire, was carried across much of Europe, North Africa and Western Asia.

The influence of the art of the Classical period waxed and waned throughout the next two thousand years, seeming to slip into a distant memory in parts of the Medieval period, to re-emerge in the Renaissance, suffer a period of what some early art historians viewed as "decay" during the Baroque period, to reappear in a refined form in Neo-Classicism and to be reborn in Post-Modernism.

Piracy is an act of robbery or criminal violence by ship or boat-borne attackers upon another ship or a coastal area, typically with the goal of stealing cargo and valuable goods, or taking hostages. Those who conduct acts of piracy are called pirates, and vessels used for piracy are called pirate ships. The earliest documented instances of piracy were in the 14th century BC, when the Sea Peoples, a group of ocean raiders, attacked the ships of the Aegean and Mediterranean civilisations. Narrow channels which funnel shipping into predictable routes have long created opportunities for piracy, as well as for privateering and commerce raiding.

Historic examples of such areas include the waters of Gibraltar, the Strait of Malacca, Madagascar, the Gulf of Aden, and the English Channel, whose geographic structures facilitated pirate attacks. The term piracy generally refers to maritime piracy, although the term has been generalized to refer to acts committed on land, in the air, on computer networks, and (in science fiction) outer space. Piracy usually excludes crimes committed by the perpetrator on their own vessel (e.g. theft), as well as privateering, which implies authorization by a state government.

Helladic chronology is a relative dating system used in archaeology and art history. It complements the Minoan chronology scheme devised by Sir Arthur Evans for the categorisation of Bronze Age artefacts from the Minoan civilization within a historical framework. Whereas Minoan chronology is specific to Crete, the cultural and geographical scope of Helladic chronology is confined to mainland Greece during the same timespan (c. 3200 – c. 1050 BC). Similarly, a Cycladic chronology system is used for artifacts found in the Aegean islands. Archaeological evidence shows that civilization developed at the same time across the region, so the three schemes align chronologically. They are grouped together as "Aegean" in terms such as Aegean art and, rather more controversially, Aegean civilization.

The systems derive primarily from changes in the style of pottery, which is a benchmark for relative dating of associated artifacts such as tools and weapons. On the basis of style and technique, Evans divided his Cretan Bronze Age pottery finds into three main periods which he called Early, Middle and Late Minoan. These were sub-divided into phases and some of those into sub-phases. The Helladic and Cycladic schemes were devised later and have similar sub-divisions. Evans' system has stood the test of time remarkably well but his labels do not provide firm dates because change is never constant and some styles were retained in use much longer than others. In fact it is partly this lack of dates that has been the strength of Evans's system; several of the dates Evans believed have certainly changed, and others remain under discussion, though within fairly narrow ranges, but the scheme just adjusts for such changes. Some pottery can be dated with reasonable precision by reference to Egyptian artifacts whose dates are more certain.