ARTRISK INTERNATIONAL CONFERENCE ON NATURAL HAZARDS AND HERITAGE PROTECTION

Publishing in ARKEOS 2006:16, 45-61.

Assessing natural and human hazards on Greek rock art

Dimitriadis George

HERAC, Philippi-Greece gdimitriadis@herac.gr

Keywords: Environmental Policy, Greek Rock Art, Hazards.
Abstract. In Greece rock art studies are a young discipline carried out by HERAC (Hellenic Rock Art Centre), based at Philippi. In the last years the international scientific community focus it’s attention to assess natural and human hazards effects on rock art. In fact Greek rock art heritage is exposed in natural and human hazards: so, one of the main activities of the institute is the documentation, protection and promotion of the rock art sites. In the present paper we focus our attention in the area of Philippi, where a good concentration of rock surfaces are engraved. From the moment that is a preliminary study (there is no risk study concerning Hellenic rock art all the assumptions proposed now must be considered temporary. In the specific, as coming out, the impact of natural hazards in the area is minimum. In the same time the human activity, intending as industry pressing is quite inexistence because Philippi’s plain sustainable by agriculture. If any kind of pollution exists, that’s attesting from the use of chemical product in the cultivations. The real risk is probably coming out from the ignorance of rock art present in the area (where a small number of the indigenous are shepherds and the engraved rocks are into the pastures lands) and the “gold fever” common obsession of inhabitants from ancient Hellenic period is still alive (they believe that the engraved figures can indicate the place here a treasure is head. HERAC, it’s start promoting a sensibility campaign near the local rural society, which starts recognise rock art as a community good worthy to be preserved and protected. In the mean time HERAC is planning to submit an environmental policy project near municipality and regional authorities in conclusion of the present study.

0. Ground

The Hellenic rock art as coming out the last years from an accurate documentation by Hellenic Rock Art Centre (cf. Dimitriadis 1997; 1999a,b,d; 2002f; 2004m) necessity to be immediately protected and monitored because frequently subject of natural and in particular way human hazards risks.

Indeed, until the last five year the rock art was not considering as an archaeological manifestation by the Greek archaeologists. The reasons can be detected in the absent of a specific specialization, as most of them are attractive by classic archaeology. It’s comprehensive! But, in Greece long archaeological time frames aren’t well document. In fact, we have no good burial/settlement evidences regarding EBA period, because no excavations were stimulated in the past. Exception the last work of Γραμμένος (1997)[1] where the well know Neolithic site of Demetra can be reconsidered as rethinking of the past theoretical and field excavation reports (also cf. Παπαδόπουλος 2002)[2].

1. Mythologic and Historical remarks

If it is true, that we cannot said to be profoundly known a civilization if we are not aware of its historical route including all the probable relations, then we can assert that in the Greek history something is missing: the creative expression of the Greek periphery. At the margin of the Greek territory roams also the Edoni Thracians, a cluster of warlike tribe, who were occupying the lands that strecthing between Strymon and Nestos rivers and from the cape of Paggeo Mount to the mountain chain of Rodopi towards North‑Est.

The straight relationship with the Greeks was probably already know from the XIV sec. a.C., lending faith to the transcription thre‑ke‑vi/ja that in the Linear B scripture it means Thrace. Many Greek words in the Linear B texts are also attested in the territory of Thrace. Many proper names and place names known in Thrace, such as Agrianes, Dyme, Nestos, river Skaios, exist in southern Greece too, has not only limited to introduce the figure of Dionysos into the pantheon of Olympus and the use of the Greek words from the Edoni, but it has been cristallized in the myth and tail of Thrace-Horsemen whose became the guardian of the border, Akritas, in Byzantine time. On the rocks that are found 2 km., to Levant, near the historical city of Philippi, where the destiny of Roman Empire, changed in the battle of the 42 a. C, we follow the birth and the military life of the Thracian Heroe‑knight that in passing of the time, is mixed with Christian and Muslim elements in a dynamic process of magical‑religious transformation.

In Greek mythology Thrace was the daughter of Oceanus and Parthenope, sister of Europe. She was also stepsister of Asia and Libya, from Oceanus's union with Pompholyge. To Zeus she bore Bithy, to Kronos she bore Dolongos, to Obriareos she bore Trieres and to Ares she bore Ismaros. Thus the Bythinians, the Dolongi and the Trieres were of Thracian origin. The Thracians to were an Indo-European people and to were related to the Greeks. The Getic tribes, who dwelt between Haimos and Carpathians, linked them with the Germanic-Scandinavian peoples. There to are frequent allusions through people and myths to the close relations between Greeks and Thracians. Many common elements contributed to the formation of the religion, theology and poetry of the ancient Greeks. It is impossible to estimate the Thracians' contribution to the shaping of ancient Greek mythology and religion, since they had not script and didn’t leave texts. On the other hand, the Greeks always placed the appearance of gods, cults and mythical persons in making-off regions and mysterious lands of the North and the East. Thus it is more than plausible that the Greeks beliefs and myths were adopted by the Thracians and that the whole cosmos of Greek mythology referring to it is to purely Greek creation. Indeed, after the reading in the Mycenaean, Linear B, tablets of the name Dionysos, a god considered to be of Thracian or Asia Minor origin, this viewpoint is bolstered further. Some deities at first unknown to the Greeks, later took their places in the Hellenic pantheon. Thracians worshipped Zeus, Hera, Apollo, Artemis, Hermes, Ares, Dionysos, Asklepios, Cybele, Sabazios, Bendis, Herakles, the Nymphs and other divinities. Herodotus mentions that the Thracians revered the gods Ares, Dionysos and Artemis and that their kings venerated Hermes above all others, swearing oaths only in his name and claiming descent from him. The god of war was Ares: from the first Iron age was represented under the shape of an vertical sword or as a young knight hunting. Next to him, are often rappresented dogs, game or snakes. These are the iconographic symbol of kyrios, Lord, soter, Saviour, iatros, Healer. At the same time the cult of the sun in opened places was practised, above all near coves and sources.

In Roman times, was the worship of the Thracian Horseman-Hero widespread in Thrace and his name is mentioned in votive inscriptions. Indeed, around this figure of the Horsemen Thrace we can search the origin of the Thracian nations who thought the horse as incarnation of the divine power. He is usually invoked as Hero or Lord and is frequently and variously identified with Apollo, Zeus, Asklepios, Dionysos and Ares. Many Thracian epithets of the deity are known, indicative of places of worship and of other attributes, such as Auloneites, Zindoumenos, Karabasmos, Saldenos and others. Illustrated on reliefs as a horseman in hunting scenes, he symbolizes the rebirth of Nature, yet it is also connected with the Underworld. The presence of altars, trees, snakes, boars and dogs in representations of the god, as well as common qualities, has led to the suggestion that he is the Thracian king Rhesos, who was made a hero after his death at Troy and subsequently deified and worshipped on the peaks of Rhodopi. Philostratus mentions that wild animals, boar and deer, made their way to his altar of their own accord, in order to be sacrificed. Sanctuaries of the Horseman-Hero have been also located on the summits of Ismaro and Rhodopi, and votive offerings of the faithful, such as bronze figurines of the god, embossed plaques and numerous pointed-bottom amphoras have been found, presumably associated with ritual observances in his honour. Another deity to respect was Bendis, the lunar goddess who carries light and she was represented riding carrying bow and arrows, later become Artemis, put in relationship with the Nymphs and Asclepio.
Dionysus, son of Zeus, was associated orgy and oracle rituals. The worship of Dionysus is held a special place in the Thracian pantheon. The god’s close relationship with Thrace is revealed in the Homeric myth concerning the King of the Hedones, Lykourgos, who was his enemy, and in the punishment of Orpheus who preferred Apollo to Dionysus. There was a sanctuary of Dionysus in the land of the Satres where, according to Herodotus, the Bessi were prophets: the Bessi, clan of the Satrae, are the prophets of the Shrine. Alexander the Great visited this sanctuary. Among its priests was Boulogaises, who led the Bessi in rebellion in 13 b. C. The worship of Dionysus was also identified with the worship of Sabazios, a Phrygian god who symbolized the death and resurrection of Nature. Sabazios had also been identified with the god of the Underworld, Pluto, while his daughter Bendis was identified with Persephone.

2. Location‑Geomorphology

The rock art site of Seliani, Mynicipality of Philippi, is situated at the Province of Kavala, explored, found and catalogued in 1998. The site is a hill, in a dominant position, overlooking the valley from an altitude of 200 meters and control the landscape from East and South. The exact geographic coordinates are 40°19' N and 23°29' W. The geo-morphological analysis of the territory, dates back to the Pleistocene and Hοlocene is characterized by alluvial younger fills. Substantially, the climate in Greece remains almost unalterable after the 7000 B.C. without enormous fluctuations. The mountain is composed mainly of good quality marble.

2.1. Population‑ Prehistoric roots of communication ‑Settlements

Homer, frequently mentions Thrace territory like the horse­-rearing Thrace, mother of sheeps and the Thracians who wear the long hair at the top like the snow‑capped mountains of the Thracians. The native land of Borea, the wind of the north, flood of contrasts, rich of game, gold mines and silver was the territory of the warlike tribe of the Hedones. Euripides describes them as dysmachotatoi, extremely hard to fight. Some tribes had the reputation of being brigands, such as the Bessi who lived in the Haimos Mountains. Thucydides (VII, xxix, 4) writes about: For the Thracian race like the worst barbarians, is most bloodthirsty when it has nothing to fear.
However, there were Thracians who abstained from drink and were peaceable, frugal and just, indeed some lived a celibate life and ate no meat, only milk, cheese, honey and plants. Homer describes them as noble or virtuous, milk‑eaters, poor and righteous. Menander mentions that polygamy was practised in Thrace. Most men had more than ten wives, in order to father many children. He who had fewer wives was considered unfortunate in the eyes of his peers, as if he had not married at all. The father had the right to sell his children or to barter them for various goods. There were no sexual restrictions on unmarried women but after wedlock they were kept under strict control. The commercial sale men and children explain the abundance of Thracian slaves, servants and concubines, not only in Athens but also in other parts of Greece. The Trace populations were considered excellent archers and used the reflected arch. Their weapons were the javelin, small shield, pelte, and dagger. They also used two javelins hurled in sequence, recoverable, in the case of missed targets, thanks to the long ropes of leather attached to the javelins. This technical is known from Il sec. a. C. They used wide Mycenae swords and from the III sec. a. C. were replaced from the Celtic ones. The Hedones carried long hats and their everyday clothes were coarse and heavy, sewn from animal hides or thick fabrics. Many textiles were woven from hemp and resembled linen. Herodotus describes the armour of the Thracians, which consisted of a fox‑skin helmet, a tunic, a long coat, zeiras, and doeskin sandals fastened high up the ankles. An Attic vase from Gela (450 b. C.), depicting Orpheus with four Thracians, gives idea of the Thracian custom. The fox‑skin cap and high sandals were mainly worn in winter and on military campaigns. Still today this custom persists, during some religious recurrences, a long black goat is worn, with which cover is conically shaped. Tattooing was a usual phenomenon, being a sign of noble birth.

Excavations (Romiopoulou, 1961) have carried to the light pieces of pottery, supporting the theory of a connection between the islands of northern Aegean with Yugoslavia and north Europe crossing Thrace, through the prehistoric settlement Adissara (Αντισσάρα) to Philippi. Among the other EHA monuments known, especially in the mountainous regions, are open‑air sanctuaries, the rock carvings, the rock‑cut tombs and the rocks with hewn niches, hollows, cavities and altars. The rock carvings, of human figures and other symbols at Roussa (Ρούσσα) and animals at Kirki (Κύρκη) probably had magical or apotropaic significance [Fig.1]. The engraves forms various shapes, reminiscent of constellations in the sky, including the Great Bear. The summits of rocky crags where there is a concentration of rock-hewn structures ‑niches, basins, altars, discs etc.‑ have been characterized as open‑air sanctuaries.

3. Philippi environment

The plain of Philippi [Fig.2] is delimited north-eastwards by the fringes of Λεκάνη (Lekani) range Mountains (altitude 1296m), westwards by Φαλακρό Όρος (Falakro Mountain, alt. 2232m) and southwards by Παγγαίο Όρος (Paggaeo Mountain alt. 1956m) and Σύμβολο Όρος (Symvolo Mountain, alt. 694m). Symvolo mountain comes in between Τενάγη (Shoals) and Aegean Sea. The only natural water escape towards the sea is northwest between Paggaeo and Falakro in Συμβολή (Symvoli) site where Αγγίτης (Aggitis) the Στρυμόνας (Strymon’s) tributary discharges itself. The fertile soil of the plain [known since the ancient years by the name Δάτο (Dato)] consists of Holocene deposits, red lands, humid or peaty soils of low areas as well as loamy, sandy and gravel soils (acid with brown red horizon) and various igneous rocks (granite, siderite, diorite etc.). In the area there is also plenty marble been used in ancient years for the erection of Philippi town walls and buildings. The location Σκαπτή Ύλη (Skapti Ili) nearby Philippi was also known during the archaic and classic era because of the gold, silver and iron deposits.
According to Theophrastus (4.14.12, 16.2‑3, 8.8.7, 6.6.4) white willows, platens, hundred leaves roses, oaks were throve in the area and firs at the highlands. As it regards the fauna, it was composed of dears, wart hogs, wolves, hares, wild gooses, storks, wild pigeons and hawks as the rock engraves show.

4. Rock art of Philippi

4.1. Analysis of figurative and possible interpretations

Φ/Πρ. Ηλίας, Β.1: I record two knights of contrasting different styles. Cavalier of foglio1 is deeply of large dimensions. Knight, of foglio2 is smallest, but his equipment is full of weapons. Artistic comparisons of the figure indicate affinity with the Skythian and Celtic world. Both surfaces include small animal figures. Here we have in synthesis the story of the entire site: a bow traced on
the body of an ox in relation to an anthropomorphic from which head come out a flux of energy. The scene is completed from a cuckold snake, chthonic symbol, of immortality and fertility. Uniforms from fractures two bow, are pin from cup-marks complex, having opposite direction (rare representation). The Φ.Β.1γ/foglio2 introduces a horse encircled from small cup-marks and an arch like those on foglio 1 and two axes, one small and one large, been born from the same grip but in opposite direction. It’s clearly that R1 is the sacred altar, (in mythology the heroes in order to acquire the immortality must die) after the vision of the cliffs Β.3 and Β.2, to the Cavalier‑Hero‑God‑Thrace.

Φ/Πρ. Ηλίας, Β.2: In this cliff finds one exemplary variety of animals like cuckold birds, foxes, also cuckold, dogs, the complete head of a wild boar, a deer and horses engraved with both techniques. The central scene represents a ghost with wings feeding a long harpoon .

Φ/Πρ.Ηλίας, Β.3: I have divided the rock in three panels A, B and C [Fig.3]. Starting, from the field A, the look focus to the anthropomorphic axe and bow‑arrow which are pointers of his identity, which it observes the trajectory of a body towards the armed ghost of launch bound together with erected axe-sword of forehead to it. At the extreme left of the scene another bow‑arrow, recorded smooth, tip towards the adjacent cavity from which it is emanated a cascade swarm of energy. In section B the thematic interest it is grouped in three scenes: 1) animals (horses) bound together with bow‑arrow; 2) natural groove cross made on five cup-marks finishes to bow‑arrow bound together to an stylized bird; in proximity cup marks complex indicates the time of the events; 3) ghost‑knight in motion towards a solar symbol (disk with external rays, like a rayed sun); an anthropomorphic snake, Echnida, it rides one launch; a ghost that finishes in an bow‑arrow bound together with axe and cup-mark.

4.2. Statistical analysis

In the area of Prophet Helia in spite of a short number of rocks we have a relative significative concentration of engravings, about 300 motifs. In percent we can say that the most engraved figure are implements and schematic anthropomorphic figures (50%), animals (45%) and lastly the Horsemen (5%).

4.3. Method of recording and Rock art

The fieldwork was carried out in several phases:
1) Exploration and photography of the site in order to pick up useful data to reconstruct the environment and the human activity. The greater part of the territory is full of galleries for the exportation of iron minerals in function until the past century and the surfacing of darkish vessel attesting the rural activity presence from Hellenistic to Roman time.

2) Cleaning of the surface has been made according neutral method.
3) Photography of the rocks, in order to define the state of conservation/deterioration.
4) application of two recording methods: frottage technique and tracing on polyethylene. The analysis of engraving techniques reveals: a hard pecking and another fine one.

In the area of Philippi we have concentred two different rock art sites. The first site (the only one inclined cliff), called Μάνα (Mana)[3], is collocated in the North of the Philippi parish[4], nearby a water spring. The rock engravings are collocated in the upper part of the rock surface. In this case the water level, even if the water flux becomes abundant, remains under the latest engrave motive. The most prominent figure is a horse rider wearing reticulate pattern armour [Fig.4]. Nearby some Arabic influence pattern swords appears which permits us to estimate probably from the Byzantine period. The second one is collocated in a natural amphitheatre where three cliffs are well exposit in the sun. The total number of the engraved figures amount over 300 single petroglyphs. The site is called Prophet Helias, cause an small rural chapel, in the top of the hill, dedicated to that holly men. Is interesting also, notice, that in the same site a Muslim religious group, named Bektasides, found its cult in east Medieval time. Most of the figures are engraves by pecking the marble surface and the rest are filiformi. In this small rocky group the dominant image is the figure of horsemen, that alludes to the deity of culture Thracian horsemen hero.

5. Natural and Human hazards on Greek rock art

To detect better and in detail the impact of natural and human hazards in the rock art of Prophet Elias site where a good concentration of engraved rocks are presented I proceed in the analysis of the seismic, temperature, rainfall and fires data[5] as follow [Fig.5].

5.1. Seismic data

The seismic activity in the region of Kavala, is very low. The area is registries as II risk zone (cf. Table I).

5.2. Temperature data

The medium temperature (med.) as can be controlled oscillates between min. 4.3° C. in Genuary (IA) and max. 25.2° C. in Juny (IN) /July (IΛ).

5.3. Fire Data

From the air photography/maps of the Philippi’s rock art ecomuseum[6] we can observe the now day’s vegetation and plant low distribution. In fact, the absent of wood and the arid zone where the cliffs with rock art are insert allowed us to the conclusion that there is no fire risk in the area.

5.4. Pluviometric and wind data

In 1990 statistics the rainfall data oscillates between 5.9 mm in August and 73.2 mm in December. In 1960 in the same period the rainfall statistic data report 8.9 mm (August) and 110.3 mm (December). That means minus 3.00 mm in summer time and 27.1 mm in winter. The winds activity intensity oscillates between 6-8 Beaufort and consequently the disaster are inexistent.

5.5. Air/Water Industry Pollution

The absent of heavy or light industry activity in the area reduce the air pollution into the follow categories: 1) animals and human sewages and 2) agriculture pesticides.

Conclusions

The investigation and study of the Early Iron Age monuments findings are particularly important for the territory of Eastern Macedonian and Thrace because continually expands our knowledge of the period which, lacking of written sources, is essentially prehistoric. The movement, the dispersal, the fusion, the fission and the installation of the Thracian tribes, the formation of their religion and mythology, their economic and cultural development, as well as their level of civilization are all issues which have absorbed scholarship for many years, since the fragmentary information in the ancient authors cannot fill the great gaps. From the exposition is evident that Philippi’s site is an open air sanctuary of Hedones Thracians where Heroe‑Knight is celebrated (cultures heroes). The morphology of the site, that acts as a “mental camera”, in relationship with the described reading, enable us to make the ipothesis of an organized group in transition between the final Bronze Age and the initial Iron Age.

Although new sites are discovered contisnuously, just as many more are constantly endangered or destroyed (Bertilsson 2003). As the Capter 5 demonstrate there is no pollution allarm regarding the rock art sites of Philippi. Of course that’s no allowed us no monitorate and no apply a pollution project for every evenient.

Essential References

1997 Γραμμένος Β. Δ., Νεολιθική Μακεδονία, ΤΑΠΑ, Αθήνα.
1997 Dimitriadis G., L’arte rupestre ellenica: nuove prospettive, Valcamonica Symposium, Iseo, Italy.
1999 a. Dimitriadis G., L’arte rupestre ellenica: nuove prospettive, BCSP, 31-32.
1999 b. Dimitriadis G., Alla periferia della grecità: l’arte rupestre degli Edoni Traci, Valcamonica Symposium, Darfo-Boario Terme, Italy.
1999d. Dimitriadis G., Rock Art in “Seliani-Mesorema, Philippi. A Century”, editor Philippi’s Culture Association.
2002 Hellenic Seismic Planning
2002 f. Dimitriadis G., Ecomuseum of Philippi. The Holy Sanctuary of Hedones Thracians (poster), 8th EAA Congress, Thessaloniki, Greece.
2002 Παπαδόπουλος Σ., Η μετάβαση απο την Νεολιθική εποχή στην εποχή του Χαλκού στην Ανατολική Μακεδονία, ΤΑΠΑ, Αθήνα.
2003 Bertilsson Ulf, Rock Art at Risk, CAR-ICOMOS2004 m. Dimitriadis G., Arte Rupestre Ellenica: Novità e Confronti. Approfondimenti nel Centro e NordEst dell’Egeo attraverso l’archeologia cognitiva, XXVII Valcamonica Symposium, Darfo-Boario Terme, Italy.

Figures

[Fig.1]. Rousses, Thrace-Greece.

[Fig.2]. Geological Map. Site Philippi-Greece

[Fig.3]. Key-figure. Φ/Πρ. Ηλίας, Β.3.

[Fig.4]. Horse-rider. Φ/Μάνα, Β.1.

[Fig.5]. Seismic Map of Greece.

NOTES

[1] Γραμμένος Β. Δ., Νεολιθική Μακεδονία, ΤΑΠΑ, Αθήνα, 1997.
[2] Παπαδόπουλος Σ., Η μετάβαση απο την Νεολιθική εποχή στην εποχή του Χαλκού στην Ανατολική Μακεδονία, ΤΑΠΑ, Αθήνα, 2002.
[3] In the local Turkish idiomatic vocabulary means “spring”.
[4] The estimation of inhabitants in Philippi parish (2001) was 896 families.
[5] Note that there is no official data and documents regarding rock art risk in Greece, so the present paper is fully pioneer. Any mistakes and wrong considerations must be taken with the possibility of reviewing as our research become more accurate.
[6] My warm acknowledgements are directed to the staff of the Technical chamber of Philippi’s municipality for the assistant held.