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Chapter 29 - Creto-Mycenaean Glyptic

from Part V - Aegean Art in the Cretan Second Palace Period

Published online by Cambridge University Press:  19 May 2022

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

It is debatable whether we can really speak of Mycenaean glyptic during the Cretan Second Palace period. On the one hand, no trace of a workshop has been found in mainland Greece for this period; on the other hand, no seal impression has been preserved. There is nothing to indicate that seals could have had an administrative role on the mainland before the appearance of the Mycenaean palaces. For the Mycenaeans, seals and signet rings were above all ‘marks of distinction’, prestige objects placed in tombs alongside metal vessels, ceremonial weapons, and jewellery. As for the manufacture of the latter, it is therefore probable that workshops were set up at Mycenae and other major centres with the participation of Minoan artisans; glyptic is not an art form that can just appear, but rather requires years of apprenticeship. This was a domain in which the Mycenaeans had no previous experience.

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Publisher: Cambridge University Press
Print publication year: 2022

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References

Further Reading

Becker, 2018: Becker, N., Die goldenen Siegelringe der Ägäischen Bronzezeit, Heidelberg.Google Scholar
Crowley, 2013: Crowley, J., The Iconography of Aegean Seals, Leuven.Google Scholar
Demakopoulou, 1996: Demakopoulou, K. ed., The Aidonia Treasure, Athens.Google Scholar
Sakellariou, 1966: Sakellariou, A., Mykenaïke Sphragidoglyphia [in Greek], Athens.Google Scholar
Younger, 1988: Younger, J., The Iconography of Late Minoan and Mycenaean Sealstones and Finger Rings, Bristol; and articles in Kadmos 23, 1984, 38–64; 24, 1985, 34–73; 25, 1986, 119–40; 26, 1987, 44–73.Google Scholar

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