Minoan Symbols: Bees & Honey 𓆤

Beekeeping equipment, beehive fragments, and depictions of beehives that date all the way back to 1,700 BCE are amongst various archaeological findings on the island of Crete and Thera. From The Malia Pendant that depicts two conjoined bees to remnants of honey offerings to their deities, bees (and the honey they produced) were integral symbols to the Minoans.

Abandoned apiary of vraski hives covered with stone slabs by K Savvakis

With how intrinsically connected the Minoans were to nature, it’s no surprise that bees and honeycombs were a recurrent motif in their frescoes, pottery, seals, and more.

While archeologist Dr. Georgios Mavrofridis and some of his colleagues posited that The Malia Pendant was modeled after the mammoth wasp (Megascolia maculate), The Malia Pendant (Χρυσό κόσμημα των Μαλίων) and “The Bees of Malia” are used interchangeably. At first glance, the impression that these may be wasps instead makes sense, if it wasn’t for the Minoan’s tendency to distort, and in most cases exaggerate, the forms of creatures and humans alike in their art. Realism just wasn’t of primary focus. This embellished art style was also evident in Egyptian art, which directly inspired them. For instance, the elongated thorax and abdomen bees were often depicted with at that time emphasized fertility. Furthermore, The Malia Pendant showcased the production cycle of honey, and thus, the inescapable cycle of life and death.

A potential apiary (a place where bees are kept) is depicted in the structure painted on the south wall of the Miniature Frieze from the West House at Akrotiri, Thera. Covering the slope of a hill, it comprises dual vertical blue bands on its western edge as well as four horizontal blue bands, five rows of black triangles with circular openings at their base alternating with the aforementioned bands. In addition to an apiary, this has been deemed a shipshed, storage area, and more.

However, there are several uncanny details that lean towards the apiary interpretation. For instance, the triangular aspects likely depict the fixed-comb beehives that are still used in Greece to this day. Moreover, the path that goes from the apiary and joins the settlement with the three-part building at the hill’s zenith may signify organized beekeeping. The trapezoid-shaped expanse of blue to the east possibly portrays a pond (a water source being another vital aspect of beekeeping). While theoretical, researcher Irini Papageorgiou believes the scope of the area encompassed by the installation and the prominence of beekeeping products (indicated by both chemical analysis and Linear B tablets references) do, in fact, point to an apiary.

Honey was utilized in numerous areas of Minoan life, making it almost if not just as valuable as olive oil. With how ubiquitous of a commodity it was, this liquid gold had multifaceted symbolism to match.

Based on archive tablets found at Knossos, it was noted that honey offerings were made to the pre-Hellenic goddess based out of Crete, Eileithyia (goddess of childbirth and midwifery). More specifically, the kernos or offering table in the temple at Malia was used to offer grains and honey to her. In general, the regenerative aspects of bees were a key symbolic attribute of a Minoan goddess.

Birth of Athena from Zeus' head with the assistance of Eileithyia

Honeycomb imagery was also prevalent in various tombs, symbolizing the renewal to be found in the afterlife—renewal in the sense of change in form, not necessarily size (i.e. bees start as an egg, then larva, followed by pupa before fully grown).

Bees’ tendency to swarm and even dance in synchrony (and the fact that they congregate in hives) serves as a symbol of community and oneness.

And while more prominent in Ancient Greece, bees were generally regarded as divine messengers that imparted wisdom and eloquence to mortals when imbibed.

In addition to Minoan spirituality, honey was crucial to the Minoan economy and trade. Not only was it their primary source of sweetener, but it also provided them with a versatile food source with substantial nutritional value. Honey was a highly coveted additive of alcoholic beverages like mulled wine as well.

Minoan ceramic model of a boat transporting honey combs

Honey was used as a skincare product and ointment across multiple ancient civilizations throughout West Asia and the Mediterranean, especially during The Bronze Age. Honey, often mixed with olive oil, was and is still used to hydrate, soothe, and exfoliate skin, leading to a more youthful complexion. Due to its anti-inflammatory and antiseptic properties, honey was applied to wounds for enhanced healing and to prevent infections.

Needless to say, honey was an elixir of life and longevity to countless civilizations, including the Minoan civilization.

Minoan Mantinada of the Month / Μινωική Μαντινάδα του Μήνα #3: A Bull-Leaper’s Desire




Original Greek Version

Ο πιο δυνατός και γρήγορος ταύρος δεν με τρομάζει
αλλά κρατώ την πνοή μου όταν αυτός κοιτάζει.

Περνά συχνά να με βλέπει στην ταυροκαθάψια.
Το ενδιαφέρον του παίζει πολύ σημασία!

《Αγρίμι》 με φωνάζουν όλοι στο ντουνιά.
Λένε 《άφησε τούτο το σκοπό για να βρείς άντρα!》

Αλλά εγώ πιστεύω στο βάθος της καρδιάς μου,
θα βρω αγάπη χωρίς να σβήσω τα όνειρα μου.

English Transliteration

O pio dynatós kai grígoros távros den me tromázei
allá krató tin pnoí mou ótan aftós koitázei.

Perná sychná na me vlépei stin tavrokathápsia.
To endiaféron tou paízei polý simasía!

Agrími》 me fonázoun óloi sto ntouniá.
Léne 《áfise toúto to skopó gia na vreís ántra!》

Allá egó pistévo sto váthos tis kardiás mou,
tha vro agápi chorís na svíso ta óneira mou.

English Translation

The strongest, swiftest bull doesn’t scare me,
but I hold my breath when he looks at me.

He comes by often to watch me bull-leap.
His interest makes my heart skip a beat.

“Wild one,” most of the villagefolk call me.
They say, “Quit this gig so you can marry!”

But I believe, deep in my heart of hearts,
I’ll find love without snuffing out my spark.

Note: This Cretan folk poem is about a Minoan bull-leaper who is seemingly fearless when it comes to bulls charging at her, but gets nervous the moment a romantic prospect looks her way. While Minoan society had egalitarian aspects (the fact that both men and women could be bull-leapers, for instance), there were still patriarchal elements and young women were expected to get married and start a family, as well as take on the family business. This starry-eyed bull-leaperess, however, plans on having both her love of bull-leaping and the love of her life someday. She refuses to give up one for the other!



The Vibrant Colors of Minoan Crete and Their Unexpected Origins

From a blue that rivaled sky and sea to a purple befitting of royalty, the world of the Minoans was undeniably vibrant. The most prominent hues used in their frescoes in particular included black, white, red, yellow, blue, and green. Pink was the one color that was virtually nonexistent in their art, clothing, and makeup. But where did such striking shades come from? They were all naturally sourced, but the origins of specific colors like purple might surprise you…

In order for the Minoans to create a black pigment as deep as the midnight sky, shale was primarily broken up into a fine dust, then mixed with a binder like olive oil or animal fat. Shale is a fine-grained, clastic sedimentary rock that’s formed from mud. There were and still are plenty of shale formations all across the island, so this color was readily available. Additionally, the oxidation of other minerals like azurite could have very well been used in place of shale. When it came to eye and eyebrow makeup, kohl (a powder made from crushed minerals like lead sulfide or charcoal) was used by Minoan women and men alike.

a piece of shale
a piece of shale

Stark white was sourced from slaked lime. Also known as calcium hydroxide, slaked lime is a pale powdery substance formed when quicklime (calcium oxide) is mixed with water. In addition, talc and calcium silicate were used to paint pottery.

some slaked lime
some slaked lime

More of a reddish-brown, hematite (iron oxide – rust) was the most common source for red, as well as red ochre. When it came to coloring fabrics, dye was extracted from the madder plant’s (Rubia tinctorum) roots.

a piece of red ochre
a piece of red ochre

A naturally-occurring earth pigment, their lively yellow hue featured in frescoes and textiles alike was made from yellow ochre. A more golden variation that happened to be highly UV-resistant was a plant dye derived from weld (Reseda luteola). The most vibrant yellow tint of them all was made by crushing saffron. The stigmas from the crocus flower, saffron was more so used for its medicinal and ritualistic properties by midwives and healers. Mineral pigments like realgar and orpiment produced a more yellowish-orange color.

a handful of saffron
a handful of saffron

Blue, Egyptian blue in particular, was more of a synthetic pigment made by combining ground-up silica, lime, copper, and alkali and then firing it. A natural blue mineral from a metavolcanic rock called glaucophane (or blueschist) was also utilized. The bright blue gemstone lapis lazuli was another viable option.

glaucophane, a shimmery blue-green rock
glaucophane

To produce green, the Minoans simply combined yellow and blue in varying amounts to create a wide spectrum of green tints.

Just as the other colors above, purple was indeed naturally-sourced. But it wasn’t from a mineral, plant, or stone. Instead, it was derived from the gland of a mollusk: the murex snail, which was and is still abundant along the Cretan coast. Unfortunately, these sea snails were usually crushed to extract their gland secretions. But what actually yielded the prized purple dye was when it was oxidized and heated. This color has always had an association with royalty, so it’s no surprise that it was a symbol of prestige to Minoans. Archaeological evidence (namely a dye installation on Pefka) suggests that the Minoans were producing Tyrian purple centuries before the Phoenicians. While the snails could be kept alive for multiple dye extractions, they were often killed. This pigment could be modified to also produce a redder shade. Clearly, prestige came at a price, but that didn’t stop the Minoans!

a closeup shot of a murex snail shell
a closeup of a murex snail shell