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1. Architecture A vertical groove, especially in a Doric column or frieze.
2. A symbolic figure that is usually engraved or incised.
3. A symbol, such as a stylized figure or arrow on a public sign, that imparts information nonverbally.

[Greek gluphē, carving, from gluphein, to carve; see gleubh- in Indo-European roots.]

glyph′ic adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
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( Christophe Helmke , an expert on Maya writing, believes the flecks of red paint decorating one of the jaws, carved with glyphic writing, is the first known instance of the Maya term for 'trophy skull'.
Stela 1 from the Motul de San Jose site contains the glyphic description 'k'uhul itza ahaw' as description of the ruler Hun Tzak Tok'.
These images featured glyphic configurations of red tree roots, a reference to Van Gogh's contested final painting, Tree Roots, 1890, completed on the morning of his suicide (according to his brother's testimony).
She swiftly discovers tribal heritage is latent in her family's culture, from consistent settlement patterns in riverine geography to glyphic writing discovered on family tombstones.
Incises, translated as "glyphic" types in the British Standards scheme, were there defined as "typefaces which are chiselled [sic] rather than calligraphic in form." Typeface Nomenclature and Classification, 11.
Tristen, Billy & Sasha's lives are made more perilous when they transfer to a new school which is filled with a fascinating array of subterranean tunnels, glyphic codes, and a labyrinth.
To accomplish this, the authors recognize the extraordinary degree to which linguistic concepts are embedded in Maya iconography through the use of glyphic elements.
The way in which this passage compares with The Sphinx sheds light on the latter's glyphic stiffness, a property of gemstones.
(17.) A series of connections between these ancient "races" is made throughout Ulysses, as when "The Cap" in "Circe" proclaims "Jewgreek is greekjew" (15.2097-98) Or when, after Stephen and Bloom make a "glyphic comparison of the phonic symbols" (17.731) of Hebrew and ancient Irish, the narrator of "Ithaca" answers the question, "What points of contact existed between these languages and between the peoples who spoke them?" (17.74546).
At the same time, the predominance of the open and accessible designs of the painted pot, the semiotics of the village community is eclipsed by a new and arcane system of marks: the literacy and numeracy of the emergent urban rulers, cuneiform incisions on clay tablets in Mesopotamia, (9) ink brushmarks on silk, wooden tablets or bamboo in China, (10) the hieroglyphs of dynastic Egypt, (11) glyphic script of the Mayan priesthood (12) and the incised marks, as yet undeciphered, on the Harrapan pottery of the Indus Valley, (13) marks with meanings unknown to the communities that provided the basis of these ancient civilizations.