Aegean Design in Oriental Palaces - Knowledge and Materiality in the Eastern Mediterranean during the Second Millennium BC

20世纪90年代，在不同的近东宫殿中发现的青铜时代中晚期的壁画在专家中引发了一场有争议的辩论。这些壁画在西亚和尼罗河三角洲似乎是外来的，而在图像和技术特征方面，它们与爱琴海的壁画联系在一起。争论主要集中在“米诺斯”流动工匠的假设上，而其他方法则被边缘化。然而，特别是来自Qatna的新发现，以及来自Tell el-Dab´a的未发表的壁画，首次在本项目框架内进行研究，表明了这种现象的时间、技术和图像多样性，并呼吁在东地中海地区进行比以前假设的更多方面的互动。因此，该项目采用比较的方法，并将整合不同的考古研究领域和分析科学方法。而不是缩小对工匠的来源的关注，不同种类的知识涉及到这些壁画的生产和消费将被研究和定性区分。因此，可以讨论东地中海不同地区的知识体系是如何以及在哪些社会层面上交织在一起的。

Wall paintings found in different Near Eastern palaces dating to the Middle and Late Bronze Age have set off a controversial debate among experts in the 1990s. These paintings seem foreign in Western Asia and the Nile Delta, whereas iconographical and technical features link them to the fresco paintings of the Aegean. The debate focused mainly on the hypothesis of "Minoan" itinerant craftspeople while other approaches were marginalized. However, especially new finds from Qatna as well as unpublished wall paintings from Tell el-Dab´a, studied within the framework of this project for the first time, indicate a chronological, technical, and iconographical diversity of the phenomenon and plead for a more multifaceted interaction within the Eastern Mediterranean than previously assumed. Therefore, the project has a comparative approach and will integrate different archaeological fields of study and analytical scientific methods. Instead of narrowing the focus on the origin of the craftsmen, the different kinds of knowledge involved in the production and consumption of these wall paintings will be studied and qualitatively differentiated. Thus, it can be discussed how and on which social levels the bodies of knowledge of the different regions of the Eastern Mediterranean were interwoven.