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Journal articles on the topic 'Glyptics'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Renard, Stéphane. "La glyptique : du berceau des civilisations à nos jours, un art millénaire en constante évolution." Gemmes 3 (March 20, 2024): 9–21. http://dx.doi.org/10.63000/dv5c4fh4r2.

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The art of stone or gem engraving was invented at the dawn of civilizations. It has played an essential role in the history of art and culture from its start to nowadays, evolving over the centuries to become a means of artistic expression. The earliest forms of glyptic art were observed among ancient Mesopotamia and Egypt, around 4,000 BC. Engraved cylindrical seals and scarabs served both as objects of art and means of personal identification. Glyptic art reached its first peak in Greece and Rome. Talented artisans produced intaglios featuring mythological motifs, portraits, and historical s

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2

DURING CASPERS, E. C. L. "Non-Indus glyptics in a Harappan context." Iranica Antiqua 29 (March 1, 1994): 83–106. http://dx.doi.org/10.2143/ia.29.0.630125.

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3

SARIANIDI, V. "Neo-Assyrian Parallels in Late Bactrian Glyptics." Iranica Antiqua 35 (January 1, 2000): 21–31. http://dx.doi.org/10.2143/ia.35.0.519094.

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4

SARIANDI, V. "Neo-Assyrian Parallels in Late Bactrian Glyptics." Iranica Antiqua 35, no. 1 (2005): 21–31. http://dx.doi.org/10.2143/ia.35.1.519094.

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5

Heydari, Muhammad, F. Desset, and Massimo Vidale. "Bronze Age glyptics of Eastern Jazmurian, Iran." Paléorient 44, no. 1 (2018): 133–53. http://dx.doi.org/10.3406/paleo.2018.5790.

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6

Sarianidi, V. I. "The Syro-Hittite Origin of Bactrian-Margiana Glyptics." Ancient Civilizations from Scythia to Siberia 6, no. 3-4 (2000): 207–34. http://dx.doi.org/10.1163/157005700x00168.

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7

Klochkov, LS. "Glyptics of Margiana (the Principles of Description and Classification)." Ancient Civilizations from Scythia to Siberia 6, no. 1-2 (2000): 41–59. http://dx.doi.org/10.1163/157005700x00050.

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8

Milevski, Ianir. "The Manahat and Gezer Cylinder Seals and Further Levantine Glyptics." Tel Aviv 27, no. 1 (2000): 91–102. http://dx.doi.org/10.1179/tav.2000.2000.1.91.

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9

Braun, Eliot. "More Evidence for Early Bronze Age Glyptics from the Southern Levant." Levant 36, no. 1 (2004): 13–30. http://dx.doi.org/10.1179/lev.2004.36.1.13.

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10

Neverov, O. Y. "GEMS AND FINGER-RINGS FROM NYMPHAEUM (Towards α Monograph of Classical Glyptics)". Ancient Civilizations from Scythia to Siberia 6, № 3-4 (2000): 179–91. http://dx.doi.org/10.1163/157005700x00140.

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11

Fomina, Irina A. "Small Forms Of Ancient Plastic Art In The Context Of The Mythological Themes Of The Venetian Renaissance." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (2024): 69–85. http://dx.doi.org/10.36340/2071-6818-2024-20-3-69-85.

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he article is devoted to the earliest forms of antique collecting, glyptics, and numismatics, which had a noticeable influence on the formation of the mythological theme in the art of Venice at the end of the 14’th-16’th centuries. The publication explores the reasons for the emergence of interest in collecting antique cameos, ancient coins, and medals, as well as provides characteristics, descriptions, and a brief overview of the collections compiled on their basis. Various aspects of collecting ancient coinage and gems are explored, as well as the direct participation of Venetian artists of

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12

Ota, Radu. "A recently discovered cameo and a few considerations on the glyptics from Apulum (Roman Dacia)." Acta Archaeologica Academiae Scientiarum Hungaricae 74, no. 1 (2023): 45–50. http://dx.doi.org/10.1556/072.2023.00003.

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AbstractIn this paper, the author draws the attention of experts to a new glyphic discovery from Apulum. It is a schematic portrait of the Gorgon Medusa, depicted on a three-layered sardonyx. Based on parallels and the manufacturing technique, the author concludes that the piece originates from the workshops of Viminacium, Upper Moesia. The cameo is dated in the second half of the second century AD, prior the time when the canabae of the XIII Gemina legion rose to the status of municipium (ante AD 197). It is the only glyptic piece that bears the image of Medusa that's Dacian origin is certain

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13

Gavrilovic-Vitas, Nadezda. "The cult of goddess Fortuna in the Roman Central Balkans." Starinar, no. 71 (2021): 163–80. http://dx.doi.org/10.2298/sta2171163g.

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The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces - mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually

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14

Lauwers, D., A. Candeias, A. Coccato, J. Mirao, L. Moens, and P. Vandenabeele. "Evaluation of portable Raman spectroscopy and handheld X-ray fluorescence analysis (hXRF) for the direct analysis of glyptics." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 157 (March 2016): 146–52. http://dx.doi.org/10.1016/j.saa.2015.12.013.

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15

Hatipoğlu, Murat, and Hilmi Güney. "Archaeo-gemmological investigation of gemstone glyptics (seal stones and ceremonial stones) and ancient jewelleries mounted gemstones in İzmir Archaeological Museum (Turkey)." Journal of Cultural Heritage 14, no. 3 (2013): e165-e168. http://dx.doi.org/10.1016/j.culher.2012.12.012.

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16

Kurtik, Gennady. "The Healing Goddess Gula as an Astral Goddess and Her Connection with the She-Goat and the Dog Constellations." Voprosy istorii estestvoznaniia i tekhniki 43, no. 1 (2022): 23. http://dx.doi.org/10.31857/s020596060019225-9.

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Gula the healing goddess is one of the best-known goddesses of Ancient Mesopotamia. The earliest mentions of Gula date back to the first half of the 3rd millennium BC. In the 2nd millennium BC the worship of Gula became widespread in Mesopotamia. Later on Gula becomes an astral goddess; she is associated with Lyra, one of the brightest constellations in the northern sky. This article discusses the astral aspects of the goddess Gula as a constellation and her connection with the Goat and the Dog constellations, located respectively in the modern Lyra and Hercules. The complicated mythological r

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17

WYLER, Stéphanie. "L’habit fait-il le dieu ? Gestes et parures autour des hermes priapiques dans les images romaines." Archimède. Archéologie et histoire ancienne Archimède n° 9 (December 2022): 21–33. http://dx.doi.org/10.47245/archimede.0009.ds1.03.

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Résumé Les paysages dits sacro-idylliques présentent une relativement grande variété de scènes figurant des personnages mineurs occupés à vêtir, parer de guirlandes, charger d’offrandes des statues hermaïques, dont la seule caractéristique « à nu » est d’être phallique. Le dispositif rituel ainsi mis en image confère au pilier hermaïque davantage qu’une actualisation performative dans le cadre du geste cultuel, il lui donne son identité. Nous étudions ces processus dans la peinture, les stucs, la glyptique et la toreutique de la fin de la République et du début de l'Empire, confrontés à la poé

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18

Gadzhiev, Murtazali S. "The Role and Place of the Middle Persian Language and Writing in Caucasian Albania." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 5 (2021): 59. http://dx.doi.org/10.31857/s086919080016630-0.

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A significant political influence of Sasanian Iran on Caucasian Albania gives reasons to consider the spread of the Middle Persian language and writing among the Albanian nobility and authorities. This process contributed by the existence of close dynastic ties between the Arsacids of Albania and the Sasanian royal family at least since from the reign of King Urnayr (ca. 350–375) up the abolition of Albanian kingdom at the beginning of the 6th century. Written sources provide the correspondence of the rulers of Albania, Armenia, Iberia with the Sasanians and the written decrees of the shāhansh

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19

Timofeev, Alexey, and Mikhail Treister. "Double-Sided Glass Gems from the Burial no. 13 of the Kurgan no. 1 of the Group “Bogomol’nye Peski-I”." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2022): 269–96. http://dx.doi.org/10.15688/nav.jvolsu.2022.2.16.

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The article examines five double-sided glass gems found as elements of a bracelet on the left wrist of a child aged 2,5–3 years in the burial no. 13 of the kurgan no. 1 of the “Bogomol’nye peski-I” group near the village of Nikol’skoe, Enotaevskiy District, Astrakhan Region. The inventory of the burial gives grounds for its dating within a broad frame of the 1st – first half of the 2nd century AD. As in the Scythian burials of the Dnieper region, glass gems in the kurgan of the “Bogomol’nye peski-I” group were found in a child’s burial. They were considered by their owners as items of jewelry

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20

BOARDMAN, JOHN. "SOME SYRIAN GLYPTIC." Oxford Journal of Archaeology 15, no. 3 (1996): 327–40. http://dx.doi.org/10.1111/j.1468-0092.1996.tb00089.x.

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21

Patmore, J. Allan. "Sue Glyptis 1953-1997." Managing Leisure 2, no. 4 (1997): 189–90. http://dx.doi.org/10.1080/136067197376130.

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22

Matthews, Donald. "Tell Brak 1990: The Glyptic." Iraq 53 (1991): 147. http://dx.doi.org/10.2307/4200343.

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23

Harrison, J. A. "Glyptis, Sue, "Countryside Recreation" (Book Review)." Town Planning Review 64, no. 2 (1993): 219. http://dx.doi.org/10.3828/tpr.64.2.l6388849434h04r4.

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24

Matthews, Donald. "Middle Assyrian Glyptic from Tell Billa." Iraq 53 (1991): 17. http://dx.doi.org/10.2307/4200332.

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25

Patmore, J. Allan, and F. Collins Michael. "A Tribute to Sue Glyptis 1953–1997." Leisure Studies 16, no. 3 (1997): 137–38. http://dx.doi.org/10.1080/026143697375359.

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26

Lau, Daniel. "Bemerkung zu zwei Mischwesen in der späturukzeitlichen Rollsiegelmotivik." Altorientalische Forschungen 45, no. 2 (2018): 182–92. http://dx.doi.org/10.1515/aofo-2018-0015.

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Abstract This contribution explores two exceptional motifs in Late Uruk glyptic that have been identified as demons. Introducing the concept of pareidolia in Mesopotamian archaeology, a different perception of these motifs is suggested, according to which they might present representations of two entangled human beings.

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27

Ławecka, Dorota. "The contest scene in EDIII Mesopotamian glyptic art." Polish Archaeology in the Mediterranean 31 (2022): 81–121. http://dx.doi.org/10.37343/uw.2083-537x.pam31.15.

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Four protagonists—two heroes, a bull-man and a human-headed bull—appear in Early Dynastic III contest scenes, engaged as a rule in guarding herbivores against predators. Contrary to common opinion, the protected herbivores represent wild species rather than domesticated ones. The paper discusses the role of the beings depicted in contest scenes, the interactions between them, and the accompanying secondary motifs. Rather than being a purely ornamental arrangement of random decorative elements, these scenes—which come in several composition variants and offer some intricacies of interpretation—

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28

Lerner, Judith A. "A prolegomenon to the study of pottery stamps from Mes Aynak." Afghanistan 1, no. 2 (2018): 239–56. http://dx.doi.org/10.3366/afg.2018.0016.

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That Afghanistan has been a cultural crossroads is no better demonstrated than by its glyptic art. The designs and styles of the seals used to sign, authenticate and secure documents and packages reflect the artistic and religious traditions of the Hellenistic, Iranian, and Indian worlds. A particular category of seal design is, to my knowledge, known only from impressions on the exterior of clay vessels; they occur at a number of sites in Afghanistan. Their designs differ in style and imagery from the glyptic art of the regions and cultures that produced seals used for authentication purposes

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29

Blocher, Felix. "Zur Glyptik aus Kisurra." Forschungen und Berichte 29 (1990): 25. http://dx.doi.org/10.2307/3881059.

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30

GARRISON, MARK. "NOTES ON A BOAR HUNT (PFS 2323)." Bulletin of the Institute of Classical Studies 54, no. 2 (2011): 17–20. http://dx.doi.org/10.1111/j.2041-5370.2011.00021.x.

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Abstract The seal applied to tablet NN 2458 from the Persepolis Fortification archive, PFS 2323, is a large seal that bears a striking image of a boar hunt, remarkable both for its design and exceptional execution. This article briefly examines the specifics of the scene on PFS 2323 and reviews the glyptic evidence for boar hunts in the Achaemenid period.

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31

Michel, Nicoletta Antognelli. "WINGLESS GRIFFINS AMONG PAPYRUS PLANTS FROM NEOPALATIAL KNOSSOS? A RECONSTRUCTION PROPOSAL OF THE SEAL IMPRESSION CMS II8, 321." Annual of the British School at Athens 115 (August 25, 2020): 247–68. http://dx.doi.org/10.1017/s0068245420000088.

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This paper offers a new interpretation of the motifs preserved on the fragmentary Late Minoan (LM) I seal impression from Knossos CMS II8, 321, proposing a reconstruction of the original scene as two couchant overlapping griffins without wings among papyrus plants. If correct, the combination of all these elements is quite exceptional, since this scene would provide a unique reflection in glyptic art of the famous Throne Room decoration of Knossos, with its imposing wingless griffins immersed in a lush landscape of papyrus-reeds. Although a well-known ivory plaque from Mycenae displays a simil

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32

TROKAY, Madeleine. "Interconnections in Glyptic Art During the Neo-Assyrian Period." Ancient Near Eastern Studies 33 (January 1, 1995): 96–112. http://dx.doi.org/10.2143/anes.33.0.525752.

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33

Stockton, Carol M. "New Journal: Gemmae—An International Journal on Glyptic Studies." Journal of Gemmology 37, no. 1 (2020): 4. http://dx.doi.org/10.15506/jog.2020.37.1.4a.

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34

Matthiae, Paolo. "The Female Sphinx in the Old Syrian Glyptic = Shaʻtiqatu?" Studia Eblaitica 2, № 1 (2016): 191–98. http://dx.doi.org/10.13173/stebla/2016/1/191.

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35

Alparslan, Metin. "Glyptic Findings with Anatolian Hieroglyphs from Kilis – Oylum Höyük." Anadolu Araştırmaları / Anatolian Research, no. 30 (July 12, 2024): 109–17. http://dx.doi.org/10.26650/anar.2024.30.1502098.

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36

Keel, Otmar. "Glyptik von Qubur al-Walaydah." Die Welt des Orients 40, no. 2 (2010): 244–54. http://dx.doi.org/10.13109/wdor.2010.40.2.244.

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37

Freikman, Michael. "Giv'at Ze'ev Excavations: Results from the 2021 Season." Judea and Samaria Research Studies 32, no. 2 (2023): 53–80. http://dx.doi.org/10.26351/jsrs/32-2/5.

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In this article, we present a preliminary report on the 2021 season at the "Hill of 16" site near Giv'at Ze'ev, conducted by the author of this article on behalf of the Institute of Archaeology at Ariel University. This season was a continuation of the ongoing study of this site since 2013. The excavation revealed a large, fortified compound with service buildings and massive megalithic buildings located nearby. The ceramic and glyptic data collected at the site suggests that it should be dated to the earlier stages of the Middle Bronze period.

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38

Gołyźniak, Paweł, Lucyna Natkaniec-Nowak, and Magdalena Dumańska-Słowik. "A nineteenth-century glyptic collection in the National Museum in Krakow." Journal of the History of Collections 28, no. 1 (2014): 85–96. http://dx.doi.org/10.1093/jhc/fhu056.

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39

Porter, Barbara A. "TRACING THE ACQUISITION HISTORY OF SOME OLD SYRIAN POPULAR STYLE CYLINDER SEALS." Iraq 77 (December 2015): 143–57. http://dx.doi.org/10.1017//irq.2015.13.

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Examples of Middle Bronze Age cylinder seals, categorized today as “Old Syrian popular style” have been documented since the mid-nineteenth century, albeit usually without any dating or provenance information. This particular subset of the vast array of ancient Near Eastern glyptic has recently been studied by the author and an acquisition history identified for many of them. Here the disparate paths that brought some of these seals into museums and private collections are explored to demonstrate, not only the vagaries of where these eminently portable objects end up, but to highlight the impo

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40

Lindblom, Michael, Gullög Nordquist, and Hans Mommsen. "Two Early Helladic II terracotta rollers from Asine and their glyptic context." Opuscula. Annual of the Swedish Institutes at Athens and Rome 11 (November 2018): 81–96. http://dx.doi.org/10.30549/opathrom-11-04.

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Two Early Helladic II terracotta rollers from the Third Terrace at Asine are presented. The objects, used to impress relief decoration on pithoi and hearths, are unique in that no other examples are known from the Early Bronze Age Aegean. Their origin is discussed based on chemical characterization and their depositional contexts are reviewed from an archaeological perspective. Although there are no known impressions from these rollers on pithoi and hearths at Asine, it is shown that their owners surrounded themselves with different objects featuring similar glyptic impressions. Two such impre

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41

Rova, Elena, and Donald M. Matthews. "The Early Glyptic of Tell Brak: Cylinder Seals of Third Millennium Syria." Journal of the American Oriental Society 119, no. 3 (1999): 525. http://dx.doi.org/10.2307/605969.

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42

KONSTANTINOV, ALEXANDER S., and ADELITA MARIA LINZMEIER. "Suffrianaltica, a new genus of flea beetles (Coleoptera: Chrysomelidae: Galerucinae: Alticini) from the West Indies." Journal of Insect Biodiversity 17, no. 1 (2020): 1–11. http://dx.doi.org/10.12976/jib/2020.17.1.1.

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New genus Suffrianaltica gen. nov. is described to accommodate Chaetocnema tuberculata (Suffrian, 1868). It is illustrated and compared to Apraea Baly, 1877, Glyptina LeConte, 1859, and Guadeloupena Bechyne, 1956 and their distinguishing characters are illustrated. The lectotype of Chaetocnema tuberculata (Suffrian, 1868) is designated. Key words: Neotropical region, Cuba, new genus, lectotype designation, Suffrian

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43

Benati, Giacomo. "THE BEGINNING OF THE EARLY DYNASTIC PERIOD AT UR." Iraq 76 (December 2014): 1–17. http://dx.doi.org/10.1017/irq.2014.5.

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This article presents a reconsideration of the architecture, stratigraphy and finds from Building Level H, excavated in Trial Pit F at Ur. Analysis of Woolley's original excavation records, kept at the British Museum, provides the basis for a contextual reconstruction. A new complete study of published and unpublished materials now housed at the British Museum and at the Penn Museum of Philadelphia is offered here. Distribution of in situ artefacts is examined here in order to provide insights on the function of the excavated loci. Finally, pottery and glyptic assemblages, considered from a re

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44

Garrison, Mark B. "Der 'Common Style' der Mitanni-Glyptik und die Glyptik der Levante und Zyperns in der späten Bronzezeit. B. Salje." Journal of Near Eastern Studies 60, no. 2 (2001): 133–38. http://dx.doi.org/10.1086/468900.

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45

Gupta, Virendra K. "A new genus of Glyptini from India (Hymenoptera: Ichneumonidae)." Oriental Insects 36, no. 1 (2002): 239–43. http://dx.doi.org/10.1080/00305316.2002.10417333.

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46

Schroer, Silvia. "The Continuity of the Canaanite Glyptic Tradition into the Iron Age I–IIA." Jerusalem Journal of Archaeology 1 (June 18, 2021): 482–502. http://dx.doi.org/10.52486/01.00001.16.

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The article relates to several recognizable developments in the iconography of the Early Iron Age. It indicates that during the 11th and beginning of the 10th centuries BCE the dominant Egyptian influence was on the decline, and other traditions came to prominence: from the north, Syrian influences, and in some places sub-Mycenaean influences. The autochthonous Canaanite heritage experienced a revival, developing new themes and using new media.

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47

Matthiae, Paolo. "An Unidentified Motif of the Old Syrian Glyptic and Temple P2 at Ebla." Studia Eblaitica 4, no. 1 (2018): 221–28. http://dx.doi.org/10.13173/stebla/2018/1/221.

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48

Bartkowiak, Marcin, Eugeniusz Milchert, and Łukasz Sałaciński. "Vegetable Oils in the Production of Biodegradable Alkyd Resins." Mini-Reviews in Organic Chemistry 16, no. 4 (2019): 399–404. http://dx.doi.org/10.2174/1570193x15666181001130019.

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A review of the technological principles of the production of alkyd resins modified with vegetable oils has been presented. Reactions and transformations occurring during the crosslinking in the presence of unsaturated fatty acids and mono-, di- and triglycerides have been described. Influence of the addition of other resins to modified glyptals and pentaphthalates have been presented. Research trends indicate the growing importance of nanomaterials in the preparation of alkyd coatings with improved properties.

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49

Garrison, Mark. "New Light on Persepolis: The Glyptic Imagery from the Persepolis Fortification and Treasury Archives." La lettre du Collège de France, no. 28 (April 1, 2010): 19–20. http://dx.doi.org/10.4000/lettre-cdf.1051.

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50

Miller, Naomi F., Philip Jones, Richard L. Zettler, and Holly Pittman. "A Sacred Landscape of Sumer: Statuettes from Ur Depicting a Goat on a Tree." Journal of Ancient Near Eastern Religions 20, no. 1 (2020): 27–47. http://dx.doi.org/10.1163/15692124-12341311.

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Abstract The statuettes commonly referred to as “Ram Caught in a Thicket” (2500 BC) may well be associated with what is known from later texts (2nd millennium BC) as the (daily) determining-of-the-fates ritual that occurred at sunrise. Symbolic elements (tree, rosette, leaf, possible mountain), and motifs (quadruped facing a tree) occur in other media—glyptic, musical instruments—and their meaning informs the unique combination of elements found in these two statuettes. It is proposed that the statuettes are offering stands. The composition as a whole represents a sacred landscape rather than

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