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

上世纪90年代，在不同的近东宫殿中发现的壁画可以追溯到青铜时代的中晚期，在专家中引发了一场有争议的辩论。这些画在西亚和尼罗河三角洲似乎是外来的，而肖像和技术特征将它们与爱琴海的壁画联系在一起。辩论主要集中在“米诺斯人”巡回工匠的假设上，而其他方法则被边缘化。然而，特别是Qatna的新发现以及Tell el-dab‘a未出版的壁画，首次在该项目的框架内进行了研究，表明了这一现象在时间、技术和肖像上的多样性，并呼吁在东地中海内部进行比之前假设的更多方面的互动。因此，该项目具有比较的方法，并将整合不同的考古学研究领域和分析科学方法。不是缩小对工匠起源的关注，而是将研究和定性区分这些壁画生产和消费所涉及的不同种类的知识。因此，可以讨论东地中海不同区域的知识体系是如何以及在哪些社会层面交织在一起的。

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 However, especially new finds from Qatna as well as unpublished wall paintings from Tell el-Dab´a, studied within the framework of this project for the first time, indicate a chronological, technical, and iconographical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.