Seamen on Land? A Preliminary Analysis of Medieval Ship Graffiti on Cyprus

This article reports on the results of a research project entitled ‘KARAVOI. The Ship Graffiti on the Medieval Monuments of Cyprus: Mapping, Documentation and Digitisation’, during which 233 ship graffiti were recorded in 44 different monuments on the island, dating from the 15th to the 20th centuries. Innovative recording techniques have been used to mitigate the effects of the subjective or partial recording of graffiti lines on tracing paper. Apart from the study of ship graffiti as iconographic sources, particular emphasis has been given to their geographical and social context through a comprehensive analysis of the graffiti types and their spatial distribution in the monuments as well as the monuments location on the island.     

'On of the Princypalle Havenes of the See': The Port of Famagusta and the Ship Graffiti in the Church of St George of the Greeks, Cyprus

In its 1000-year history the port has been the source of triumph and tragedy for the city of Famagusta, being the conduit through which flowed both enormous wealth and destruction. Today the French medieval and Greek Orthodox churches, and the Venetian walls, though ruined, still carry physical traces of this turbulent society in the form of ship graffiti. Though such images are often classified as 'low-art', they are nevertheless imbued with a deep social significance, which the maritime historian can yet use to get a glimpse of an important, though virtually-forgotten, heritage in the Eastern Mediterranean.
© 2007 The Author     

The Problem of the Missing Harbour of Evagoras at Salamis,Cyprus: a review of the evidence and pointers to a solution

This article summarises the archaeological evidence for the existence of Evagoras' naval harbour at Salamis in North Cyprus, which ancient texts credit him with building c.410–400 BC. Based on a critical examination of previous surveys and his own on‐site observations, the author concludes there is indicative evidence of a constructed harbour c.800 m long, which was divided into two basins by a stone jetty, separated from the city by a stone wall and with some evidence of ship‐sheds at its north end. © 2012 The Author     

Historical Ship Graffiti on the Walls of San Juan's Spanish Defence System: an Interim Report

This project intends to document graffiti identified on the walls of the defence system of San Juan, Puerto Rico, in a collaborative effort between the author and the National Park Service. The initial proposal envisaged a maximum of 8 or 9 ship drawings previously identified by the Park's personnel. Fieldwork has hugely expanded that number—so far over 400. Preliminary evaluation of the ship-types identified suggests the presence of a visual representation of ship-type evolution, at least from the 18th to the first half of the 20th centuries.
© 2006 The Author     

Of Ships and Deer: early Western Mediterranean ship graffiti reappraised

Re‐analysis of the Hal Tarxien prehistoric ship graffiti, the incised figure on a pottery sherd, from the Neolithic site of Grapceva cave on a Croatian island, known as the ‘Hvar boat’, and the Villanovian‐Etruscan bronze razor from Bologna allow the last two to be reinterpreted as animals rather than ships, and the first to be dated to the Bronze Age Cemetery phase of the site. These findings require the earliest ship graffiti in the western Mediterranean to be reconsidered.     

A Different Configuration for the Quarter‐Rudders on the Khufu I Vessel (c.2566 BC), and Egyptian Methods of Mounting Quarter‐Rudders and Oars in the 4th and 5th Dynasties

A review of the Khufu I vessel (c.2566 BC) and contemporary Egyptian iconography (c.2613–2345 BC) suggest this vessel was originally fitted with six pairs of quarter‐rudders, instead of one pair. Furthermore, quarter‐rudders may have been mounted on knob‐shaped thole‐pins, instead of crossbeams. The iconography also suggests that each quarter‐rudder was fitted with a loom‐line and specialized grommet, and rowers may have used a similar system to mount their oars. Finally, a recently published depiction of Sahure sailing a boat may show an anchor secured on the stern deck. © 2011 The Author     

Cutwaters Before Rams: an experimental investigation into the origins and development of the waterline ram

Students at Stevens Institute of Technology (Hoboken, NJ, USA) investigated the reasons for an elongated projection at the bow of Mediterranean galleys. Using a 1:20 base model adapted from the Trireme Trust's Olympias fitted with: 1) an elongated projection; and 2) a control bow similar to excavated merchant ships, tow‐tank tests were carried out at various speeds. Hydrodynamic resistance and power were calculated for each bow type. Above speeds corresponding to 6 knots, the cutwater bow significantly attenuated the model's bow waves when compared to the control bow. These results were then compared to those of the ship with a ram‐type bow from experiments conducted in 1985 at the National Technical University of Athens, which showed similar wave‐attenuating characteristics.     

Managing Munificence

The navy of Athens during the democratic period (ca. 480-322 BCE) was largely financed and managed by wealthy citizens who undertook a public service, or liturgy, to maintain a warship for a year. With reference to a model of decisions made by the citizens eligible to undertake the liturgy, the author argues that the successive reforms to the institution were designed in ways and introduced at times to preserve its potential both to raise revenue and to remain popular. The first and second reforms performed these tasks by increasing the incentives for the citizens most willing to spend their money to undertake the liturgy; the third did so by reducing free riding.     

16th-Century Ship Graffiti on the Town Walls of Eivissa, Balearic Islands, Spain

Among the historical ship depictions in Eivissa (Balearic Islands, Spain), the graffiti of galleys on the Renaissance city walls are of particular interest. From archival documents the building sequences of this monument can be confirmed. Thus the galley graffiti on the eastern side of the bastion of Sant Bernat can be narrowed down chronologically to slightly after 1568. These graffiti are also interpreted from the social history point of view, in the light of ongoing corsair incursions during the 16th century.
© 2009 The Author     

Bittersweet ambivalence: Austin’s street artists speak of gentrification

Both gentrification and street art are concerned with the conquest of urban space. Although historically, graffiti and street art have functioned to challenge the status quo, a growing appreciation for urban art unveils a far more collaborative attitude between some street artists and the elite. A familiar esthetic of gentrified terrains involves repurposing spaces that capture the urban experience. In some cities, urban redevelopment preserves original materials that capture that “urban feel” by highlighting exposed brick structures, rustic furnishings, industrial lofts, and urban art. In other cities, these styles are recreated consciously. This paper draws from in-depth interviews with street artists from Austin, Texas, one of the fastest growing urban landscapes in the U.S., to discuss street artists’ attitudes towards gentrification. Its examination of stories and personal narratives about gentrification shows the complexities of rapid urban expansion as perceived by Austin street artists, and concludes that street artists remain ambivalent towards gentrification. While street artists experience some negative effects resulting from gentrification, urban redevelopment also has another clear benefit for them: an expansion of their urban canvas. The growth of city space extends street artists’ creative playground, which advances the artists’ opportunities for paid work and exposure.     

Bahamian Ship Graffiti

In the Age of Sail the Bahamas was on major routes between the Americas and Europe. Bahamians developed a way of life using their location to advantage. Ship graffiti are the first archaeological evidence of Bahamian shipping activity. The graffiti are unique in the region, being incised into a variety of stone surfaces, and probably other surfaces which have not survived. Images depict locally-built vessels such as sloops and schooners as well as larger, ocean-going ships. Graffiti locations are predominantly associated with people of African heritage and lower socio-economic status. Details suggest artists were familiar with ship construction and rigging.
© 2006 The Author     

Recording and Analysis of Ship Graffiti in St Thomas’ Church and Blackfriars Barn Undercroft in Winchelsea,East Sussex,UK

Two assemblages of ship graffiti were recorded using Reflectance Transformation Imaging in the ancient port town of Winchelsea. The engravings show characteristics common to most medieval ship graffiti in England, while displaying different levels of detail, which encouraged a nuanced interpretation. It is suggested that the ship graffiti demonstrate a multifaceted relationship with the sea. The St Thomas’ church graffiti could have been a means of spiritual protection and a devotional practice that cuts across different communities of practice and social groups. The seascape in Blackfriars Barn undercroft can be interpreted as an occasion of informal remembrance of the mustering of a large naval fleet before setting out.     

Keeping it real? Subcultural graffiti,street art,heritage and authenticity

This article considers the implications of framing subcultural graffiti and street art as heritage. Attention is paid to subcultural graffiti’s relationship to street art and the incompatibility of its traditions of illegality, illegibility, anti-commercialism and transience with the formalised structures of heritage frameworks. It is argued that the continued integration of street art and subcultural graffiti into formal heritage frameworks will undermine their authenticity and mean that traditional definitions of heritage, vandalism and the historic environment will all need to be revisited. The article contributes to the current re-theorisation of heritage’s relationship with erasure by proposing that subcultural graffiti should be perceived as an example of ‘alternative heritage’ whose authenticity might only be assured by avoiding the application of official heritage frameworks and tolerating loss in the historic environment.     

国外城市涂鸦研究进展与启示

城市涂鸦自1960年代在世界各大城市普及以来,在环境指示、社会沟通、权力表达、身份构建、产业发展、规划设计等诸多方面扮演着重要角色,并成为一种典型且有争议的城市社会文化现象,吸引了国外学者的密切关注。借助文献计量分析法,以Web of Science为数据库,对国外城市涂鸦研究进行了系统分析,并重点回顾了涂鸦的内涵、涂鸦与城市环境、涂鸦的街头表达、涂鸦与空间构建、涂鸦与城市响应等主要领域的研究进展,同时从研究内容、学科、方法与数据、理论基础四个方面进行了述评与展望。最后,分析了国外涂鸦研究对我国研究的启示,从我国涂鸦的诞生背景、涂鸦者群体和涂鸦特征三个方面阐述了我国涂鸦研究对国际研究可能存在的意义,也指出了未来我国涂鸦研究的方向。     

1990年代以来广州城市涂鸦空间的形成与嬗变——基于空间生产的视角

改革开放后,涂鸦伴随后现代街头文化传入中国,逐渐发展成为融合中西方的文化景观。涂鸦作为以城市公共空间为载体的创作形式,兼具艺术内涵和反叛色彩的双重特性,因此也被视为城市管理的不稳定因素,使其空间的生产常充满了多元主体的冲突。本文运用实地调研和深度访谈的方法,通过探究广州城市涂鸦空间的形成演变,透视当代中国城市后现代文化空间的生产及其意义。研究发现,广州城市涂鸦的空间形成主要经历了三个阶段,呈现出以老城区为中心逐步向外围地区扩展的特点。涂鸦手通过建构创作空间、利用资本力量、与政府博弈等手段实现对城市空间的占据,并使涂鸦逐渐成为具有中国本土化特征的后现代文化空间的范例。本文通过广州案例的研究,希望为今后中国城市空间治理的实践及空间正义的相关讨论提供参考借鉴。