We don’t know much about art in Anatolian palaces. One thing we have no shortage of are seals in the hoyuk’s levels (Weingarten 274). These seals mark a distinct and important connection between Levantine, Greek and Anatolian cultures in the time period of interest. Trade of commodities brings another type of trade: one of ideas. Because of this connection, it’s no surprise that there are many connections between Levantine and Anatolian cultures. Both Mesopotamia and Anatolia have compact rooms with ceremonial routes built around the concept of height, where height implies power or dominance (Walsh 137). Use of spaces like this provide an insight into how people in Anatolian society interact.
Based off of other cases within the class, and even extending to our weekly excursions, we often have come across the concept of flaunting wealth through worldliness. Since it is established that there is trade between Anatolia and Mesopotamia, and then on top of that, there are many connections in the layout and use of space between the two cultures, it is fair to draw from Mesopotamian influences when trying to fill in the gaps in Anatolian palatial architecture.
For example, the color palette for Mari wall paintings often follows the color scheme of white, red, black. The art within Anatolian palaces could have reflected a similar set of colors leading to an identifiable style within these palaces. The mural above could have likely been adorned in a fashion similar to a Mari painting as shown below.
Walsh, C. The Transmission of Courtly Lifestyles in the Bronze Age Eastern Mediterranean University College London.
Weingarten, J. (1994) Two Sealing Studies in the Middle Bronze Age. I: Karahoyuk, II: Phaistos Archives Before Writing. Proceedings of the International Colloquium Oriolo Romano.
Blasweiler, J. (2018)Bronze Age Karahöyük near Konya and the kingdom of Purušhanda Arnhem (nl) 2018