Cypro-Minoan syllabary the origin of the script) is rather deceptive, as the archaeological context of Cyprus was largely different from that of Minoan Crete, even in spite of visible traces of trade with Crete in the archaeological context, as well as common presence of Cypriot and Cretan writing in Ugarit. There were no visible traces of Minoan invasion, colonization, or even significant cultural influence in Bronze Age Cyprus. At that time, the island was part of the Near-East cultural circle rather than Aegean civilizations. Based on the above-mentioned classification of the script into several varieties, Emilia Masson hypothesized that they may (not
Minoan pottery which first workshop painters begin to be identifiable through their characteristic motifs; as with all Minoan art, no name ever appears. In LMIB, the Marine Style also emerges; in this style, perhaps inspired by frescoes, the entire surface of a pot was covered with sea creatures, octopus, fish and dolphins, against a background of rocks, seaweed and sponges (Examples 1, Examples 2, Examples 3, Examples 4. The Marine Style is more free flowing with no distinct zones, because it shows sea creatures as floating, as they would in the ocean. The Marine style was the last purely Minoan style; towards