Aspects of materiality, interaction, agency and the social life of colors are discussed as they provide ways to understand the findings. The results indicate that shininess is still by far the most important component however, the use of hues is less clear-cut than it seemed at first. In this study, I have added the grave material from Berbati and Dendra to determine whether the first preliminary findings were still valid for a larger quantity of material and from different areas and contexts within them. Certain hues seemed far more common than others-yellow and dark/black followed by white/light. The results indicated that color did seem to be important: the most essential component by far was that of shininess/brightness-almost every object placed in the grave was reflective, lustrous or shiny. Looking at Late Bronze Age tombs in the Argolid, I used these parameters initially in a pilot project to register and analyze all the non-skeletal and non-ceramic grave goods in five chamber tombs at Asine.
One area that has not been investigated in depth regarding the objects placed in the graves is the aspect of color: does their color in general or specific colors have any importance, symbolically or in any other way? Are some of these objects and goods there because they have a specific color rather than for other reasons? What we call “color” today can be said to have three major components: hue, degree of shine or mattness, and depth or saturation of the hue.
More details: The study of burials can include, among other things, examinations of grave goods, architecture, osteological and organic remains, context and location, socio-religious and ritual importance, sacred landscape, socio-economic relevance, and so on. Book as hardcover edition with 200 pages of high-quality colour printing and thread binding. Not only interesting for those interested in historical shipping. Good, varied and continuously coloured illustrations underline the corresponding text information. This results in 18 pages of source and literature references that speak for themselves.
In addition to artefacts, many sources from texts and documents, architecture and art are used. Food for all those who have already dealt with the controversial subject of the colour blue in shipbuilding. A comprehensive arc is spanned here from the ships of antiquity to the first half of the 19th century, structured according to the navies of the individual European nations and other cultures. In particular, the use of blue in historical shipbuilding will deepen the subject. A journey through 5,500 years of history of the color blue, its general use, its production, its symbolism and application in art, architecture and daily life.
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