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Of or relating to engraving or carving, especially on precious stones.

[Greek gluptikos, from gluptos, carved, from gluphein, to carve; see gleubh- in Indo-European roots.]
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.


(Art Terms) of or relating to engraving or carving, esp on precious stones
[C19: from French glyptique, from Greek gluptikos, from gluptos, from gluphein to carve]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ˈglɪp tɪk)

1. of or pertaining to carving or engraving on gems or the like.
2. Also, glyp′tics. the process of engraving on gems or the like.
[1810–20; < Greek glyptikós=glypt(ós) carved, v. adj. of glýphein to engrave, hollow out + -ikos -ic]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.


See also: Gems
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
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 iconography.
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.
If engraved on precious, semi-precious metals or moulds for coins or medals, they belong to the glyptic art.
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.
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.