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Chapter 22 - Minoan Glyptic

from Part IV - Aegean Art in the Second Palace Period

Published online by Cambridge University Press:  19 May 2022

Jean-Claude Poursat
Translated by
Carl Knappett
Jean-Claude Poursat
Affiliation:
University of Clermont-Ferrand
Carl Knappett
Affiliation:
University of Toronto
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Summary

Along with frescoes, it is seals that best represent the Minoan art of this period: the richness of their iconographic repertoire is unmatched in the other arts. The growth in administrative activity entails an increase in their production; at Knossos, Zakros, and some villas like that of Haghia Triada this is reflected in the presence of archive deposits containing significant numbers of sealings. In total, nearly 2,000 seals and several hundred imprints allow for the study of Neopalatial glyptic – and this number is probably tiny compared to the total output. It has been estimated that at Knossos several thousand seals must have been in use at any one time (Krzyszkowska 2005, 119–53).

Type
Chapter
Information
The Art and Archaeology of the Aegean Bronze Age
A History
 , pp. 195 - 208
Publisher: Cambridge University Press
Print publication year: 2022

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References

Further Reading

Ameri, 2018: Ameri, M., Kielt Costello, S., Jamison, G., Scott, S. eds., Seals and Sealing in the Ancient World: New Approaches to Glyptic Studies (part IV, 327–400), Cambridge and New York.CrossRefGoogle Scholar
Becker, 2018: Becker, N, Die goldenen Siegelringe der Ägäischen Bronzezeit, Heidelberg.Google Scholar
Karnava, 2018: Karnava, A., Seals, Sealings and Seal Impressions from Akrotiri in Thera (CMS Beiheft 10), Heidelberg.Google Scholar
Krzyszkowska, 2005: Krzyszkowska, O., Aegean Seals: An Introduction, London.Google Scholar
Onassoglou, 1985: Onassoglou, A., Die ‘talismanischen’ Siegel (CMS Beiheft 2), Mainz.Google Scholar
Weingarten, 1983: Weingarten, J., The Zakro Master and His Place in Prehistory, Gothenburg.Google Scholar

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