Espelugues, of the middle Magdalenian, are full of movement and life and show such certainty and breadth of treatment that they must be regarded as the masterpieces of Upper Palaeolithic glyptic art.
The final manifestation of popular glyptic art was the okimono, an ornament pure and simple, in which utility was altogether secondary in intention to decorative effect.
Costumes of the utmost magnificence were worn, and the chiselling of masks for the use of the performers occupied scores of artists and ranked as a high glyptic accomplishment.
The first historical period of glyptic art in Japan reaches from the end of the 6th to the end of the 12th century, culminating in the work of the great Nara sculptors, Unkei and his pupil Kwaikei.
The chief distinguishing feature is that the glyptic character is preserved at the expense of surface finish.
The second period in Japanese glypticart extends from the beginning of the 13th to the early part of the 17th century.
He belongs to a class of experts called uchimono-shi (hammerers) who perform preparatory work for glyptic artists in metal.
The present generation is more systematically commercial in its glyptic produce than any previous age.
And masks to be used in mimetic dances, such as the No, received attention from many great glyptic artists.
The glyptic art of Greece had been paralleled hundreds of years before it was born.
He would not confine it to glyptic art, nor indeed to art alone--all the uses of life might be bettered by it.
In the glyptic art, Hittite engravers surpassed themselves, and showed themselves worthy of their Ninevite masters.
The glyptic art and the jewellery of the Persians maintain nobly and without any sign of decadence the artistic traditions of Chaldæa and Assyria.
Thus this symbol, borrowed from Mesopotamia, is a transgression of the precepts of the Avesta, and an act of tolerance which only penetrated into the monumental sculpture of palaces and tombs, and into the glyptic art.
The glyptic art, through the multiplicity of its productions, is one of the principal elements of Phœnician archæology, and teaches us more than the miserable fragments which remain of pottery or sculpture.
It goes without saying also that the inscriptions and the details of costume give an absolutely precise character to the classification of the productions of the glyptic art under the Achæmenids.
And even the figures of men or animals, the trees and the geometrical ornaments with which the Cypriote cylinders are covered, are copied by unskilful workmen from the productions of the Assyro-Persian or Egyptian glyptic art.
The ornamental design occupies, indeed, a considerable place on the surface; it is composed of a double border of interlacing lines and symmetrical scrolls, which are never met with except in monuments of the Hittite glyptic art.
Persians of this period attained a considerable proficiency in this branch of the glyptic art.
The glyptic art of the Sassanian is seen chiefly in their bas-reliefs; but one figure "in the round" has come down to us from their times, which seems to deserve particular description.
If we have regard to the highest qualities of glyptic art, Sassanian sculpture must be said here to culminate.
Of glyptic art the most ancient, as well as the most ample, remains are found in the temples and the other monuments of Egypt.
The cylinders," says a very learned writer upon Oriental Glyptic Art; "whatever may be their material, have never shown the mark of a foreign influence upon the soil of Egypt.
The engraving is of great service to the historian and student of the glyptic art, as the subjects show the transition from Assyrian, Egyptian, and Persian forms and figures, to the archaic Greek and the best period of stone engraving.
Thus we see that without any apparent previous preparation a strong impulse toward glyptic art and the men to direct and give it strength simultaneously sprung up in the land.
But even then the careful observer might have noticed indications that a genius for glyptic art was awakening in the new republic.
With the revival of the glyptic art, cameos begin to play a prominent part in jewellery.
Owing to the complete decline of the glyptic art in the Middle Ages, antique cameos and intaglios, on account of some fancied assimilation in subject or idea to Christian symbolism, were occasionally used for devout subjects.
In the interesting 'Notices of Collections of Glyptic Art,' by the Rev.
We know that during the Middle Ages the glyptic art had declined very much, and that from their fancied assimilation antique gems were occasionally used for devout subjects.
Glyptic work in various metals found masters of the highest craft in the representatives of the Goto family.
Among glyptic artists there have been handed down from these days the names of men famous for their skill in sculpturing images, two of whom were called "Kasuga" after the place where they lived, and were held in the highest honor.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "glyptic" in a variety of sentences. We hope that you will now be able to make sentences using this word.
