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I’ve been doing some data analysis related to the sign groups and adjuncts that most frequently appear in conjunction with GRA on the Knossos tablets. Here’s what most frequently appears in the context of GRA at Knossos (I’ve excluded single instance appearances; and please ignore the case sensitivity, it’s just an issue with my current set of data):
[“T”, 32],
[“LUNA”, 8],
[“MONTH”, 3], // might be duplicates due to multiple sources of the same inscription; see “to do” below
=> 11 instances
[“OLIV+A”, 9],
[“NI”, 6],
[“a-ma”, 6], // appears exclusively in a GRA context at Knossos
[“to-so”, 2],
[“pa-i-to”, 2],
[“MUL”, 2],
[“GRA+PE”, 2],
[“e-pi-ke-re”, 2], // appears exclusively in a GRA + OLIV+A context at Knossos
[“](T)”, 2],
[“V”, 2],
to do:
case insensitivity
run Pylos and compare once PY data entry is complete
auto-consolidate declensions and alternations
de-duplicate entries from single inscriptions with multiple sources
Back in March, I offered my ierprntetation of the picture of the Minoan bull-leaping scene in . Essentially I see a man (the sun) leaping over the bull (earth) between the two ladies (the east and west horizons). This then is an anthropomorphic representation of Crete’s most sacred icon: the Horns of Consecration.I think the naturalistic look of Minoan art is cleverly deceptive in that it *appears* on the surface to be a reflection of the real world when underneath, subtle iconography and mythos may be analysed in it.Also, a beautiful naturalistic period in Egyptian art, I think, is during the time of Akhenaten. I find it poetic how the pharaoh’s imposed belief of a single all-seeing sun god, Aten, who illuminates the entire world had come to be mirrored in the more realistic artwork. Was there a conscious choice here to illuminate on stark reality to rebel against the darkness of the long period before this when overstylistic idealism was the norm?
I’ve been doing some data analysis related to the sign groups and adjuncts that most frequently appear in conjunction with GRA on the Knossos tablets. Here’s what most frequently appears in the context of GRA at Knossos (I’ve excluded single instance appearances; and please ignore the case sensitivity, it’s just an issue with my current set of data):
[“T”, 32],
[“LUNA”, 8],
[“MONTH”, 3], // might be duplicates due to multiple sources of the same inscription; see “to do” below
=> 11 instances
[“OLIV+A”, 9],
[“NI”, 6],
[“a-ma”, 6], // appears exclusively in a GRA context at Knossos
[“OLIV”, 4],
[“](OLIV)”, 2],
=> 6 instances
[“KO-WO”, 5],
[“ru-ki-ti-jo”, 3],
[“RU-KI-TI-JO”, 2],
=> 5 instances
[“OLIV+TI”, 4],
[“to-so”, 2],
[“pa-i-to”, 2],
[“MUL”, 2],
[“GRA+PE”, 2],
[“e-pi-ke-re”, 2], // appears exclusively in a GRA + OLIV+A context at Knossos
[“](T)”, 2],
[“V”, 2],
to do:
case insensitivity
run Pylos and compare once PY data entry is complete
auto-consolidate declensions and alternations
de-duplicate entries from single inscriptions with multiple sources
Back in March, I offered my ierprntetation of the picture of the Minoan bull-leaping scene in . Essentially I see a man (the sun) leaping over the bull (earth) between the two ladies (the east and west horizons). This then is an anthropomorphic representation of Crete’s most sacred icon: the Horns of Consecration.I think the naturalistic look of Minoan art is cleverly deceptive in that it *appears* on the surface to be a reflection of the real world when underneath, subtle iconography and mythos may be analysed in it.Also, a beautiful naturalistic period in Egyptian art, I think, is during the time of Akhenaten. I find it poetic how the pharaoh’s imposed belief of a single all-seeing sun god, Aten, who illuminates the entire world had come to be mirrored in the more realistic artwork. Was there a conscious choice here to illuminate on stark reality to rebel against the darkness of the long period before this when overstylistic idealism was the norm?