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Chapter 44 - The End of Aegean Glyptic

from Part VII - Aegean Art of the Mainland Mycenaean Palatial 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

It is paradoxically at the height of the Mycenaean palaces that glyptic art loses its status as the principal form of relief art. The making of gold signet rings, whether on Crete or the mainland, ceases around the moment when the palace of Knossos is destroyed in 1370 bc; that of hard semi-precious sealstones stops shortly after, and does not go beyond the end of Late Helladic (LH) IIIA (J.-C. Poursat, in Driessen and Farnoux 1997, 387–90). No stylistic evolution can be discerned on seals discovered in later contexts.

Admittedly, palatial administrations still use sealing systems to manage what goods come in and out. At Knossos, the latest of its archival documents could date to c.1300 bc; subsequently, only a few sealings on jars exist (Krzyszkowska 2005, 216–17, 223–31).

Type
Chapter
Information
The Art and Archaeology of the Aegean Bronze Age
A History
 , pp. 432 - 436
Publisher: Cambridge University Press
Print publication year: 2022

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References

Further Reading

Dickers, 2001: Dickers, A., Die spätmykenischen Siegel aus weichem Stein. Untersuchungen zur spätbronzezeitlichen Glyptik auf dem griechischen Festland und in der Ägäis, Rahden.Google Scholar
Jackson, and Wager, 2008: Jackson, C. M., Wager, E. C. eds., Vitreous Materials in the Late Bronze Age Aegean, Oxford.Google Scholar
Krzyszkowska, 2005: Krzyszkowska, O., Aegean Seals: An Introduction, London.Google Scholar
Pini, 2010: Pini, I., Aegean and Cypro-Aegean Non-Sphragistic Decorated Gold Finger Rings of the Bronze Age, Liège.Google Scholar

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