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Minoan art is a constant inspiration: the colorful frescoes with people in naturalistic poses, an emphasis on the beauty of nature... but a lot of the "Minoan art" that circulates online is not Minoan at all, and definitely not ancient, even if it's inspired by the ancient originals.
Take the lovely image at the top of this post. It's a modern work that's a combination of this fresco from Akrotiri, ca. 1625 BCE:
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I've written a couple of times about Minoan food and cooking. It's a perennially popular subject, since food is one of the human universals: everyone has to eat. And learning about a culture's foodways is one of the easiest ways to connect with them.
Over the years, I've gathered up bits and pieces of information from research about Bronze Age Mediterranean food. I shared some lists of typical Minoan foodstuffs in Labrys & Horns. But I've collected up far more than I have published. So today, I thought I'd offer what you might think of as a comprehensive Minoan shopping list of the foods that the best-stocked kitchen in Bronze Age Crete might have included.
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Pagans are often a "bootstrapping" sort of people: We do things for ourselves, sometimes because we want to, often because we have to. I'm pretty sure a lot of Pagan resources come into being because someone went looking for something, couldn't find it, and ended up creating it themselves.
That is exactly how the Minoan Tarot was born.
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You may have noted that in these blog posts I use phrases like "the god we call Korydallos" or "the goddess we call Therasia." That's because we have an interesting conundrum with some of the Minoan deities: we don't know what the Minoans called them.
Some deity names survived the Late Bronze Age collapse intact, eventually being subsumed into the Hellenic pantheon: Rhea, Eileithyia, and Dionysus are well-known examples. Others were "demoted" to human characters in myth and legend (Minos, for example, and Ariadne). But we still know their names - that part of them was not lost over time, even if their characteristics changed due to cultural pressure as the Greeks came to power and the Minoans disappeared from view.
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Forged artifacts are a fact of life in the archaeological community. How should we, as Pagans who rely on archaeology for our religion, relate to these objects?
I've written before about the problems with the large numbers of forged Minoan artifacts that are still in circulation, many of them in museums. Thankfully, the museums are now recognizing the lack of authenticity and provenance of many of these forgeries and sharing that information with the public.
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How do we practice Modern Minoan Paganism? What resources are available for people who are interested?
The most direct, comprehensive way to learn about MMP is via my two books Labrys & Horns and Ariadne's Thread. Labrys & Horns in particular is a how-to book for MMP. But if you don't feel like flipping through a book, there are other options for inspiration.
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Birds abound in Minoan art: swallows (shown above in a detail from the Spring fresco from Akrotiri), doves, partridges, hoopoes, and other birds whose exact species we can't identify. I've looked before at the variety of our feathered friends who appear in the frescoes, statuary, and other Minoan art.
In Modern Minoan Paganism, we associate swallows with Therasia, doves with Rhea, and larks with Korydallos. But how did the Minoans view birds, through the lens of their culture and beliefs?
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