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--- glyptic [2015/01/07 21:13] – edit kelley
+++ glyptic [2019/02/19 19:36] (current) – [Interpretation of seal images] kelley
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 ====== Glyptic ======
+This page will give a general overview of seal glyptic as described in the general literature on the topic.\\
 ====== Chronological Development ======
 For the most part, the imagery on seals can be situated within a typology of certain 'type-scenes'. This repertoire of scenes and iconography changed and developed over time and varied geographically and stylistically. A brief chronological overview follows.
@@ Line 5: / Line 9: @@
 **Fourth Millennium**
-The Uruk and Jemdet Nasr styles existed simultaneously and exhibit vastly different style and subjects. Uruk seals depict everyday administrative or temple activities on the one hand (VA 4207, VA 10893, [[http://example.com|BM 116722]]), or smooth designs of curves, rosettes, and animals in pattern (VA 2031). Jemdet Nasr seals, on the other hand, feature a mixture of very simple, linear geometric patterns, either entirely abstract or sometimes in the shape of repeated animals or insects (Ashm 1931.207, Ashm 1928.454). The other great theme was the ‘pig-tailed ladies’ evidently female figures engaged in tasks such as weaving or pottery manufacture (Ashm 1949.878, VA 4247). Contest scenes, which will be one of the most persistent themes in cylinder seal design, depict combat between lion and bull ([[http://www.britishmuseum.org/research/publications/online_research_catalogues/search_object_details.aspx?orig=%2Fresearch%2Fonline_research_catalogues%2Frussian_icons%2Fcatalogue_of_russian_icons%2Fadvanced_search.aspx&output=Terms%2F!!%2FOR%2F!!%2F17689%2F!%2F%2F!%2Ftalc%2F!%2F%2F!!%2F%2F!!!%2F&numpages=10&currentpage=2&partid=1&objectid=1439331 |BM 119308]]), which a hero later joins.
+The Uruk and Jemdet Nasr styles existed simultaneously and exhibit vastly different style and subjects. Uruk seals depict everyday administrative or temple activities on the one hand ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478029|VA 4207]], [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478230|VA 10893]], [[http://example.com|BM 116722]]), or smooth designs of curves, rosettes, and animals in pattern ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478078|VA 2031]]). Jemdet Nasr seals, on the other hand, feature a mixture of very simple, linear geometric patterns, either entirely abstract or sometimes in the shape of repeated animals or insects ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P472821|Ashm 1931.207]], [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P472832|Ashm 1928.454]]). The other great theme was the ‘pig-tailed ladies’ evidently female figures engaged in tasks such as weaving or pottery manufacture ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P472781|Ashm 1949.878]], [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478067|VA 4247]]). Contest scenes, which will be one of the most persistent themes in cylinder seal design, depict combat between lion and bull ([[http://www.britishmuseum.org/research/publications/online_research_catalogues/search_object_details.aspx?orig=%2Fresearch%2Fonline_research_catalogues%2Frussian_icons%2Fcatalogue_of_russian_icons%2Fadvanced_search.aspx&output=Terms%2F!!%2FOR%2F!!%2F17689%2F!%2F%2F!%2Ftalc%2F!%2F%2F!!%2F%2F!!!%2F&numpages=10&currentpage=2&partid=1&objectid=1439331 |BM 119308]]), which a hero later joins.
 **Third Millennium**
-Moving into the Early Dynastic Period, we find two great themes: contests and banquets. Contests now feature human combatants for the first time, or the partially human ‘bull-man’ (Ashm 1929.267). Banquets show feasting, usually with one socially elevated individual apparent, and often feature women ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=368680&partId=1&searchText=cylinder%20seal|BM 122137]]). The earliest inscriptions on seals appear in this period. During the Akkadian period mythological scenes begin to appear, making use of a limited and well-defined repertoire of characters and attributes (Ashm 1931.105; Ashm 1891.455; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=754956&partId=1&searchText=mesopotamia&page=69|BM 89119]]; VA 3329). These are of particularly tantalising interest because, as Porada puts it ‘this is the only period when Mesoptamian art produced extensive narrative representations based on a mythology of which, however, no contemporary literary documents survive’ (1960: 116). Contest scenes, still popular, gain a new dynamism (BM 104490; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=1574246&objectId=674641&partId=1|BM 134763]]). The presentation scene, in which a human individual is presented (usually by an intercessory goddess) to a divine figure, originates here (Ashm 1952.32). It would become one of the most popular type-scenes. In the Ur III period the presentation scene would become standardised in respect to even the smallest details, solidifying around a limited visual vocabulary (Collon 1982: 129).
+Moving into the Early Dynastic Period, we find two great themes: contests and banquets. Contests now feature human combatants for the first time, or the partially human ‘bull-man’ ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P472934|Ashm 1929.267]]). Banquets show feasting, usually with one socially elevated individual apparent, and often feature women ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=368680&partId=1&searchText=cylinder%20seal|BM 122137]]). The earliest inscriptions on seals appear in this period. During the Akkadian period mythological scenes begin to appear, making use of a limited and well-defined repertoire of characters and attributes ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P473039|Ashm 1931.105]]; [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P473054|Ashm 1891.455]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=754956&partId=1&searchText=mesopotamia&page=69|BM 89119]]; [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478251|VA 3329]]). These are of particularly tantalising interest because, as Porada puts it ‘this is the only period when Mesopotamian art produced extensive narrative representations based on a mythology of which, however, no contemporary literary documents survive’ (1960: 116). Contest scenes, still popular, gain a new dynamism ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=674616&partId=1&searchText=104490&page=1|BM 104490]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=1574246&objectId=674641&partId=1|BM 134763]]). The presentation scene, in which a human individual is presented (usually by an intercessory goddess) to a divine figure, originates here ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P473084|Ashm 1952.32]]). It would become one of the most popular type-scenes. In the Ur III period the presentation scene would become standardised in respect to even the smallest details, solidifying around a limited visual vocabulary (Collon 1982: 129).
 **Second Millennium**
-Presentation scenes remain popular, although with variations in arrangement and iconographical details. Inscriptions become longer and begin to fill more of the space (BM 89897). This tendency is even more pronounced in the Kassite period where prayers sometimes fill almost the entire space ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=369348&partId=1&people=142061&peoA=142061-3-18&page=1|BM 89853]]; BM 114704 in which there is so much text there is only space for a thin line of insects). The Middle Assyrian period saw the introduction of a new motif, an animal pacing at or leaping up to a tree to feed ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=417184&objectId=1478645&partId=1|BM 89557]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1479532&partId=1|BM 102535]]).
+Presentation scenes remain popular, although with variations in arrangement and iconographical details. Inscriptions become longer and begin to fill more of the space ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1336762&partId=1&searchText=89897&page=1|BM 89897]]). This tendency is even more pronounced in the Kassite period where prayers sometimes fill almost the entire space ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=369348&partId=1&people=142061&peoA=142061-3-18&page=1|BM 89853]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=369346&partId=1&searchText=114704&page=1|BM 114704]] in which there is so much text there is only space for a thin line of insects). The Middle Assyrian period saw the introduction of a new motif, an animal pacing at or leaping up to a tree to feed ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=417184&objectId=1478645&partId=1|BM 89557]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1479532&partId=1|BM 102535]]).
 **First Millenium**
-From the start of the Neo-Assyrian period the popularity of inscriptions declines. Contest scenes are popular, as is the related hunting scene (Ashm 1954.742). Scenes of ritual often echo exactly the type-scenes found in full-scale wall reliefs (Ashm 1932.319). Beginning particularly in the Neo-Babylonian period, seal designs become increasingly spare, with few elements and much blank space ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1435567&partId=1&people=93371&peoA=93371-1-4&view=list&page=1|BM 89813]]; VA 3884). This tendency becomes even more pronounced in the Achaemenid period ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=805203&partId=1&technique=17248&&&sortBy=imageName&page=1|BM 89816]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=23391&objectId=1400584&partId=1|BM 89528]]). This is undoubtedly an influence from the stamp seal. As cuneiform writing declined, the stamp seal was once more becoming the norm, as it had been before the invention of the cylinder seal.
+From the start of the Neo-Assyrian period the popularity of inscriptions declines. Contest scenes are popular, as is the related hunting scene ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P473254|Ashm 1954.742]]). Scenes of ritual often echo exactly the type-scenes found in full-scale wall reliefs ([[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P473310|Ashm 1932.319]]). Beginning particularly in the Neo-Babylonian period, seal designs become increasingly spare, with few elements and much blank space ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1435567&partId=1&people=93371&peoA=93371-1-4&view=list&page=1|BM 89813]]; [[http://cdli.ucla.edu/search/archival_view.php?ObjectID=P478781|VA 3884]]). This tendency becomes even more pronounced in the Achaemenid period ([[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=805203&partId=1&technique=17248&&&sortBy=imageName&page=1|BM 89816]]; [[http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=23391&objectId=1400584&partId=1|BM 89528]]). This is undoubtedly an influence from the stamp seal. As cuneiform writing declined, the stamp seal was once more becoming the norm, as it had been before the invention of the cylinder seal.
+====== Imagery typologies ======
+** Contest scenes **\\
+\\
+** Banquet scenes **\\
+\\
+** etc **
 ====== Interpretation of seal images ======
@@ Line 36: / Line 51: @@
 **Nissen, H. J., Damerow, P., and Englund, R. K.**
-. A//rchaic Bookkeeping: Early Writing and Techniques of the Economic Administration in the Ancient Near East//. Chicago: University of Chicago Press.
+. //Archaic Bookkeeping: Early Writing and Techniques of the Economic Administration in the Ancient Near East//. Chicago: University of Chicago Press.
+**Porada, E.**
+."Notes on the Sargonid Cylinder Seal, Ur 364", //Iraq// 22: 116-123.