Short notes cover Ebla fragments of Sumerian lexical list MEE 15 40, 41, 42, 43, 52, 53, and 61; and an unidentified motif of the Old Syrian glyptic
and temple P2 at Ebla.
The manner in which numismatic material, sculpture and other forms of glyptic
art were combined emphasizes what Finbarr Barry Flood refers to as the inherent "mobility of premodern subject and objects".
In "Encounters between Iranian Myth and Rabbinic Mythmakers in the Babylonian Talmud," they provide citations and comparative description of passages in the Bavli and Iranian mythological texts and include comparanda to Mesopotamian cosmological literature and Achaemenid glyptic
The Early Glyptic
of Tell Brak; Cylinder Seals of Third Millennium Syria.
Especially the part about Dante and Virgil ascending to Purgatory Mountain which produces such a powerfully glyptic
imagery that I felt I was inside a painting.
The goal of "Outlining the Contours with a Chisel..." is to familiarize visitors with problems of perception and depicting man and the male form by artists of various epochs on miniature numismatic masterpieces scarcely available to the public as coins, medals, and glyptic
If engraved on precious, semi-precious metals or moulds for coins or medals, they belong to the glyptic
Mode of treatment is as important as part of the thing represented and the plastic quality is utilised to the fullest in order to achieve the desired form as opposed to the glyptic
approach, keeping the work in the realm of ceramics and thus communicating the language of form.
Following are chapters on the specifics of material finds, including ceramics, pictorial and glyptic
evidence, and commodities.
(28) Illustrated in Toby Yuen, 'Glyptic
sources of Renaissance Art', in Clifford Malcolm Brown, ed., Engraved Gems: Survivals and Revivals.
The material culture of Iron Age IIA is characterised by a revival of urbanisation in large parts of the Southern Levant, alongside the appearance of new glyptic
styles and cultic objects, as well as a change in pottery traditions, epitomised by red-slipped, hand burnished pottery.
391-395), for example, has explored the context and pattern of Sumerian feasting with reference to images of banqueting in glyptic
art and on the Royal Standard of Ur; she also discusses (pp.