Stamp Seals

This article responds to the research needs regarding 19th-and 20th-century sigillography, presenting the results of research on press advertisements of seal makers and sellers published in the Poznań press in the years 1815–1939. This publication includes a list of people who produced seals and offered sales of the associated products, which made it possible to present information on the lives and activities of several dozen craftsmen and merchants from the period of the partitions and the interwar period in Poland. The personal data collected here allow for the development of research on craftsmanship and Poznań craftsmen working with metal.

A difícil relação entre “cultura popular” e “religião” é alvo recorrente de discussões nas Ciências da Religião e na História da Religião do Antigo Israel. Dentre as variadas aproximações ao tema, há dificuldades na categorização dos conceitos, assim como posições divergentes sobre o lugar dessas práticas dentre o quadro sócio-religioso mais amplo. O presente artigo, alimentado e reagindo à discussão, coopera através da conceituação de objetos de poder como mídia, i.e., como objetos que, ao encarnar “poder religioso”, tornam-se, em si, poder religioso, hibridizando alteridade e identidade últimas. Para tanto, é realizado breve panorama sobre a discussão de magia na História da Religião de Israel e uma discussão, a partir da filosofia de mídia e estudos de cultura material, para a conceituação de objetos de poder. Ao fim, é apresentado estudo de caso com análise de um selo de estampar de osso de tell en-Nasḅeh.

Due to the development of chancery forms in the 19th and 20th centuries, the activi-ty of seal makers and engravers began to develop dynamically. The increased activity of Krakow’s seal makers and dealers is confirmed by, among others, press advertisements in which we can find a wide ranging offer of such enterprises. Technological development and ongoing economic and agricultural changes also had an impact on engraving firms. Mecha-nization became widespread, with rubber also being introduced into the production of seals, which enabled the faster delivery of more orders.In the discussed period, tens of seal makers and dealers operated in Krakow. The com-panies and craftsmen mentioned in the article do not constitute a whole, because there was no separate registration for them. Because of the lack of source material, it was difficult to find the dates on which some workshops were established or closed down. This also applies to the dates of company location and profile changes. We believe, however, that this previo-usly unexamined element of everyday life of Krakow’s residents should be presented and research into the unnoticed activities of local craft workers should be initiated.

The Hermitage collection of ancient jewellery is extensive and diverse. The greater
part of it consists of exhibits found in the course of archaeological excavations that are
now customarily published as whole sets together with other material. This catalogue
includes only ancient jewellery items acquired by the museum at various times from
private collections. They are assigned to a special group as they have no archaeological
context. We have selected for publication rings and seals made from precious metals
with the use of precious and semiprecious stones. The main section consists of gold artefacts
and significantly fewer silver, stone and gilded bronze rings.

The Golden Seal With Hermes Description From Harran Castle.
As the Harran archeology excavation team, a gold seal was found during the archeological excavation work we carried out in Harran Castle in 2019. At first glance, this seal, which looks like a ring with a stone, was determined to be unique as a result of the research. The handle of this seal is bronze, the frame is gold, and the stone is amethist. The depiction of Hermes (Mercury) sitting on its stone is engraved (intaglio).
The seal stone depicts naked Hermes sitting on the rocks facing right. He holds a kerykerion (caduceus) in his right hand and a purse in his left hand. At the short groundline under the purse, the rooster stands outward. The Hermes figüre, which is compared with its similar examples and carving style, is dated to the Roman Empire period.
The discovery of this unique stamp seal depicting Hermes in the city of Harran/Carrhae, located between in the cities of Seleukeia on the Euphrates (Zeugma) and Seleukeia on the Tigris, where the belief of Hermes Trismegistus is seen and where the world’s largest examples of gyliptic art are found, is seen as the forerunner of the Harran archives.
In this artical, after the seal is introduced, the Hermes depicted on the seal was compared with similar example and the carving style, and the kontext where it was found and the Hermes Trismegistus belief seen in Harran were evaluated.
Key Words: Harran, Carrhae, Seal, Hermes, Hermes Trismegistus, Roman, Glyptic.
          ÖZET
Harran arkeoloji kazı ekibi olarak, Harran İçkale’de 2019 yılında yaptığımız arkeolojik kazı çalışmasında bir mühür bulundu. İlk bakışta taşlı yüzük görünümüne benzeyen bu mührün yapılan araştırma neticesinde ünik olduğu belirlendi. Tutamağı tunç, çerçevesi altın olan bu mührün ametist taşına, oturan Hermes (Merkür) betimi oyuludur.
Mühür taşında çıplak Hermes kayalıklara sağa dönük oturur. Sağ elinde kerykerion (caduceus), sol elinde para kesesi tutar. Kesenin altında kısa taban çizgisinde horoz dışa dönük durur. Benzer örnekleriyle ve oyma üslubuyla karşılaştırılarak anılan Hermes figürü Roma İmparatorluğu dönemine tarihlendi.
Hermes Trismegistus inancının görüldüğü ve Dünyanın en büyük glyptik sanatı örneklerinin bulunduğu Seleukeia Euprates (Zeugma) ve Seleukeia Tigris kentleri arasında yer alan Harran/Carrhae kentinde Hermes betimli ünik formlu bu damga mührün ele geçmesi Harran arşivlerinin de habercisi olarak görülmektedir.
Bu makalede, mühür tanıtıldıktan sonra, mühürde betimlenen Hermes,  benzer örnekleriyle ve oyma üslubuyla karşılaştırılarak, bulunduğu birim,  ve Harran’da görülen Hermes Trismegistus inancı ele alınarak değerlendirilmiştir.
Anahtar Kelimeler: Harran, Carrhae, Mühür, Hermes, Hermes Trismegistus, Roma, Glyptik

Zygmunt Weinkrantz (1837–1889) belonged to the group of prosperous Warsaw seal workers of the second half of the 19th century. From 1859 he ran three specializing factories in small prints, stamping and drawing materials. Based on the conducted query in Polish museums, available catalogs and studies on sphragistic collections and indexes, books and address yearbooks, and finally, after reviewing the company's press advertisements, the operations of the Warsaw seal works factory were preliminarily recognized. The owners of the seals, made by Zygmunt Weinkrantz, were mostly state and church authorities of the higher and lower levels. This clearly indicates that Z. Weinkrantz's seal factory enjoyed a reputation in the Kingdom of Poland. In addition, the Warsaw craftsman made medals and tokens. The article also presents illustrations of the remains of the company, the producer's signatures and a list of seal matrices, medals and tokens.

Öz: Medeniyet tarihinin en önemli eserlerinden olan mühürler, tarih öncesi dönemlerden itibaren kullanıla gelmiştir. Türk Tarihi'nde damga veya tamga olarak adlandırılan ve ilk örneklerine Orta Asya'da rastladığımız mühür, Türkler' in İslamiyet'i kabulü ile birlikte farklı bir boyut kazanmıştır. Mühürler, İslamiyet'le birlikte hat sanatının farklı alanlardaki kullanımını gösteren en güzel örnekler olmuştur. Kendi dönemi için imza niteliği taşıyan bu eserler bazen bir yüzük üzerinde, bazen bir kolye, bazen de kösteğe takılan veya özel kese içinde taşınan yönetim, kamu veya şahsa özel niteliklerde karşımıza çıkmakla birlikte koruma veya uğur getirmesi için tılsım olarak da kullanılmıştır. Araştırma konumuz Niğde Müzesi'nde yer alan Osmanlı Dönemi mühürlerinin okunuşu, gruplaması, tasnifi ve tanımlanması kapsamında bilimsel değerlendirmelerinin ortaya konulmasıdır. Bugüne kadar Osmanlı Dönemi mühürleri ile ilgili çalışmalar yapılmasına rağmen, standart bir kalıp vermeyen mühürlerin taşra örneklerinin incelenmesi ve bilim dünyasına tanıtılması araştırmanın temel amacını oluşturmaktadır. Bu kapsamda, Niğde Müzesi'nde yer alan Osmanlı Dönemine ait mühür örnekleri incelenmiş, detaylı fotoğrafları çekilmiş, tasnif edilip gruplandırılmış ve genel bir değerlendirmeye tabi tutularak özellikleri ortaya konulmuştur. Abstract:Seals, as one of the most important works of the history of civilization, has been used since the prehistoric periods. Seal, which was named as damga or tamga (stamp) in Turkish history and first examples of which were seen in Central Asia, has gained a new dimension with Turks' adopting Islam. Seals has been the best examples of calligraphy in different fields with Islam. These works, which has signature value for their own period, besides appearing in administrative, public or personal characteristic sometimes on a ring, sometimes on a necklace, and sometimes hung to a watch chain or carried in a special pouch, were used as charm for protection or luck, as well. Our research topic is the presentation of scientific evaluations in terms of reading, grouping, classification and identification of Ottoman period seals in Nigde Museum. Until today, although there are studies on Ottoman period seals, the main purpose of this study is the examination of rural examples of seals which does not give a standard mold and presentation of them to the world of science. In this regard, Ottoman period seal examples in Nigde Museum are examined, their detailed photos are taken, classified, grouped and their characteristics are presented with a general overview.

Riassunto: dei signacula ex aere con l'oggetto marcato. Per illustrare la grande varietà esistente di forme, rendere evidente la frequenza di alcuni tipi rispetto ad altri, si propone uno schema tipologico delle lamine dei signacula bronzei.

This second part of the study of Daoist seals focuses on types, building on Wang Yucheng’s earlier studies. They come in four: 1) seal script; 2) heavenly scripts; 3) talisman-inspired; and 4) graphic. The underlining criterion is the Daoist strategy of image-making: it sheds light on the interlocking relationship of Daoist texts and images. The first type is purely script-based, while the fourth is purely graphic. Between the two is the core zone of Daoist visual culture as it blends image with text.

Eski Yakındoğu'nun mühürleri ve baskıları, sanatsal değerlerinin yanı sıra, sundukları zengin görsel malzeme ile ait oldukları toplumu yansıtırlar. Mühürlerdeki betimlemeler aracılığıyla dönemin dini inanışları, dünya görüşü, kültürü, ikonografisi, mitolojisi, gündelik hayatı, hatta teknolojisine dair bilgiler edinilmekle birlikte, farklı coğrafya ve dönemlere ait toplumlar arası kültürel etkileşimler hakkında da fikir sahibi oluruz. Kültepe'de 1948 yılından itibaren kesintisiz bir şekilde sürdürülen sistemli kazılarda açığa çıkartılan arkeolojik materyallerin yanısıra satın alınma yoluyla müzelere kazandırılan farklı nitelikteki eser grupları Yakındoğu arkeolojisine önemli katkılar sağlamıştır. Özellikle de MÖ 3. Binyıl'ın son çeyreğine tarihlendirilen silindir mühürler hem mühür tipi hem de sahne, kompozisyon ve üslup açısından tamamen Anadolu mühürcülüğüne yabancıdır. Post-Akad ve III. Ur dönemi üslup özelliklerini taşıyan bu mühürler Anadolu'nun sınır ötesi ilişkilerine yeni ve önemli bir boyut kazandırmıştır. Bu bağlamda, Kültepe'nin 11 b tabakasında açığa çıkartılan ve Mezopotamya kronolojisinde III. Ur dönemi ile çağdaş olan bir mezar ve bunun içerisinden ele geçen silindir mühür Kültepe'nin uluslararası ilişkilerine yeni bir boyut katmıştır. Mezar ve içerisinden ele geçen tüm bu bulgular, Asurlu tüccarlardan öncesinde de Kültepe'ye yabancı tüccarların gelerek burada bir süre konakladığını ve hatta gömüldüğünü ortaya koyan tek örnek olması ile Anadolu arkeolojisinde önemli bir yere sahiptir. MÖ 2. Binyıl'ın başlarına tarihlenen Koloni Çağı (yak. MÖ 1974-1720) Anadolu kronolojisinde Orta Tunç Çağı'na paralel gelmektedir. Koloni Çağı ile birlikte Anadolu ve Mezopotamyalı tüccarların ticari faaliyetleri nedeniyle değişik kültürlerin birbirleriyle karşılaştığı, kaynaştığı ve farklı nitelikleri bünyesinde barındıran kozmopolit bir toplum yapısı ile karşılaşılır. Bu etkileşimin yansımaları mühür ve mühür baskıları üzerinde görülen farklı sanat üsluplarının varlığı ile ve ele geçen diğer arkeolojik eserlerle de net bir şekilde görülmektedir. Bu çalışmada değerlendirilen ve Koloni Çağı'na tarihlenen mühür ve baskılarında Anadolu, III. Ur, Eski Suriye ve Eski Babil dönemi mühür üslupları tespit edilmiştir. Bu dönem mühür sanatındaki üsluplar arasında çoğunluğu "Anadolu üslubu"nda kazınmış damga mühür ve baskıları oluşturur. Koloni Çağı mühür ve baskıları arasında Anadolu üslubunun yansıtan en karakteristik kompozisyon konuları çeşitli hayvan sıraları ve mücadele sahnelerinin işlendiği örneklerdir. Koloni Çağı damga mühürleri üzerinde görülen bu basit stilin yanısıra Anadolu insanı damga mühürlerini yontarken, Mezopotamya ve Suriye'den ithal edilen kompozisyon konularından ve motiflerden bazılarını ödünç alarak bunları yerel zevklere göre modifiye etmiştir. Bu bağlamda, sık kullanılan bu motifler; merkezde yer alan çift başlı kartal, sfenks, kuş adam ya da boğa adam tasvirinin işlendiği örneklerdir. Koloni Çağı'nın erken evresine tarihlenen bir mühür baskısı üzerinde III. Ur dönemi üslubunda kazılmış oturan tanrıya tapma sahnesi yer alır. III. Ur döneminde ilk kez kullanım görmüş bu eserlerin Koloni Çağı'na aktarımı ve ikinci kez kullanımı sırasında mühür yazıtı değiştirilmiştir. Bu mühür baskısı Koloni Çağı'nın erken evresinde yaşamış olan Anah- ìlí'nin oğlu Tab-şili-Aššur'a ait olduğu anlaşılmıştır. Sınırlı sayıda mühür baskısı üzerinde tespit edilen Eski Suriye üslubu mühür baskılarında görülen konular; birbirini tekrar eden insan başları ve tapan bir erkek figüründen oluşmaktadır. Tek bir örnekle sınırlı olan Eski Babil üslubuna ait mühür baskısı üzerinde de aslan ve kahraman mücadele konusu işlenmiştir.

      The seals and seal impressions of the Ancient Near East reflect the society to which they belong, as well as their artistic values, and the rich visual material they offer. Through the descriptions in the seals, information on religious beliefs, world view, culture, iconography, mythology, daily life, and even technology of the period is obtained, and an understanding of intercultural cultural interactions of different geographies and periods is also observed. In addition to the archaeological materials unearthed during the systematic excavations that have been carried out uninterruptedly since 1948 in Kültepe, different groups of artefacts brought to museums through purchasing have made significant contributions to Near Eastern archaeology. Especially cylinder seals dated to the last quarter of the 3rd millennium B.C. are completely new to Anatolian seals in terms of both seal type and scene, composition, and style. These seals, which bear the stylistic features of Post-Akkad and Ur III period, gave a new and important dimension to the cross-border relations of Anatolia. In this context, a tomb and the cylinder seal unearthed in the 11th layer of Kültepe contemporary with the Ur III period in Mesopotamian chronology added a new dimension to the international relations of Kültepe. The grave and all the findings recovered from it have an important place in Anatolian archaeology with the fact that foreign merchants came to Kültepe before the Assyrian traders, stayed here for a while and were even buried. The Colony Age (ca. 1974-1720 BC), dated to the beginning of the 2nd millennium BC, is parallel to the Middle Bronze Age in Anatolian chronology. As a result of the commercial activities of the traders of Anatolia and Mesopotamia during the Colony Age, a cosmopolitan society structure, where different cultures meet each other, fuse and contain different qualities is encountered. The reflections of this interaction are clearly seen with the existence of different art styles seen on the seals and seal impressions and other archaeological artefacts. In this study, Anatolian, Ur III, Old Syrian and Old Babylonian seal styles were determined in the seals and seal impressions dated to the Colony Age. The majority of the styles in the seal art of this period consist of stamp seals and impressions engraved in the "Anatolian style". Among the Colony Age seals and impressions, the most characteristic composition subjects reflecting the Anatolian style are examples of various animal rows and combat scenes. In addition to this simple style seen on Colony Age stamp seals, Anatolian people borrowed some of the composition subjects and motifs imported from Mesopotamia and Syria when carving stamp seals and modified them according to local tastes. In this context, a commonly used example of the motifs are double-headed eagle, sphinx, birdman or bull-man in the center. A seal impression dated to the early phase of the Colony Age features a worshipping scene to a sitting god carved in Ur III style. The seal inscription has been changed for the second use in Colony Age. This seal was found to belong to Tab-şili-Aššur, son of Anah-ìlí, who lived in the early phase of the Colony Age. The subject seen in the seal impression of Old Syrian style, which was determined on a limited number of seal prints is human head rows and a worshipping male figure. On an only Old Babylonian style seal impression the struggle of a lion and hero was depicted.

This handbook entry on seals and sealings, with a focus on the ancient Southern Levant, was initially drafted in 2009-11. Revisions were suggested by the editors in 2015, and the authors have added occasional updates since without however aiming to be comprehensive.
We understand that an ambitious publication project such as the "Encyclopedia of the Material Culture of the Biblical World" takes time to be completed and will certainly not blame those who work hard toward that aim. That said, the entry might be of some use to fellow researchers even in the present, preliminary form. However, the main reason for uploading our manuscript here is yet another one: It should have been part of a new research application, but the funding agency's rulings do not allow unpublished manuscripts to be submitted with the application proper.

The paper probes the distribution of the various stamped and incised Judahite jars with two criteria in mind: (1) their estimated date; (2) the assumption that in addition to Jerusalem, sites that yielded large quantities of stamped handles (mainly lachish and Ramat Ra el) served as major collection centres while sites that yielded only a few dozen stamped handles served as secondary administrative centres of the kingdom. Based on their findings, the authors reconstruct the evolution of the royal administrative system in the late 8th through the early 6th centuries BCe.

(EXTRAIT de l'article paru dans la : Revue française d'héraldique et de sigillographie, tome 86 - 2016, pages 93 à 96)

Deux tableaux présentant : 1. La typologie des matrices de sceaux originales, anciennes et authentiques. Proposition d'une tentative de datation pouvant être utile dans la mesure où les matrices sont souvent conservées ou découvertes sans documentation ou "hors contexte". 2. Un panorama des copies, faux et pastiches. Ces objets posent souvent problème à ceux qui les découvrent ou sont chargés de leur conservation. D'autant plus que, produits en assez grande quantité à partir du XIXe siècle, ils inondent certaines collections et le marché des antiquités. D. M. D. (7 mai 2018)

The paper probes the distribution of the various stamped and incised Judahite jars with two criteria in mind: (1) their estimated date; (2) the assumption that in addition to Jerusalem, sites that yielded large quantities of stamped handles (mainly lachish and Ramat Ra el) served as major collection centres while sites that yielded only a few dozen stamped handles served as secondary administrative centres of the kingdom. Based on their findings, the authors reconstruct the evolution of the royal administrative system in the late 8th through the early 6th centuries BCe.

This book presents nearly 200 objects of glyptic art from the Natsvlishvili Family collection, Tbilisi, Georgia. Their cultural, geographical and chronological diversity is considerable starting from the Near Eastern cylinder and stamp seals as well as amulets, through the Egyptian scarabs, Greek and Roman intaglios and cameos, the post-classical gems and contemporary forgeries.

This eclectic collection was a base for an essay on the subject of how to differentiate genuine ancient engraved gems from their modern copies, pastiches and forgeries. That essay is an introduction to the detailed analysis of the objects discussed in the catalogue section. Overall, it is confirmed that the cabinet contains products of the local glyptics as well as the imported ones to the territory of Georgia from all over the world through ages. The book also gives a valuable insight into the role of Tbilisi as a hub for exchange and trade in antiquities and works of art in the second half of the 19th and 20th century.

Even though Egypt was politically divided between the 17th and the late 16th centuries BCE, relations with the Levant did not come to a halt after the political takeover of the Nile Delta by the Hyksos. This is reflected by the distribution pattern of Second Intermediate Period seal-amulets (scarabs, scaraboids, cowroids) in the Levant. Previous research on glyptic from this period focused on present-day Israel, Lebanon and Syria and this paper aims at complementing this geographical area by assessing and interpreting the finds from Jordan.

This sigillographic (sphragistic) study will review the historic and archaeological two-knight seals of the Templars, and the investigation of a curious and probably unique seal die or matrix. Our accurately molded (though slightly altered) two-knight Templar design seal matrix was recently acquired from an old collection. The matrix consists of a silver die with a reverse-side iron spike, apparently for insertion into a wooden handle. We determined that the exact item that was molded to produce the silver die is a wax seal apparently used by German Templar Master Friedrich Wildgraf in 1289, and now held by the Munich State Archives. The original seal matrix used to make that seal is not believed to exist, and the present recreated matrix is likely to be the only one of its type, still able to impress wax seals as made by the Templars.

In this article, 13 cylinder and stamp seals are examined. They were found at Tatarlı Höyük during the 2008–2012 excavations. The interesting and significant collection of cylinder and stamp seals of the second millennium BC reveals the importance of Tatarlı Höyük in the archaeology of Kizzuwatna. Stamp seals from earlier periods were found out of context and shed light on prehistoric Tatarlı Höyük. We believe that Tatarlı Höyük is ancient Lawazantiya – the famous ‘lost’ city of the Hittites and of Kizzuwatna.

Object study of a pottery amulet, ostensibly from Israel/Palestine, which came to light in a deceased estate. While it seems to date from Late Antiquity, almost every aspect of this pendant is unexpected. Its shape – a three-armed star – lacks amuletic precedents. Its surfaces bear crude figurative images which seem to have been incised after the clay was fired. On one face, three male anthropomorphic figures – reminiscent of figurae magicae from the Greek Magical Papyri (PGM) in their crudeness, disposition and ambiguity – surround a central five-pointed star. On the other face appears another male anthropomorph together with two horned deer or antelopes, two canine or feline predators, and a fish; the man and the animals all seem at peace together. The bucolic scene continues onto one edge thickness, where an additional stag-like beast appears with two more of the predators. The scenes do not conform to known templates, such as the repertoire from magical gems, and resist interpretation. The two other edge thicknesses contain pseudo-inscriptions.

Lucrarea este dedicată unor artefacte ceramice care caracterizează centrul de producţie de la Porolissum: vasele de lux decorate prin ştampilare.
Studiul a demonstrat că la Porolissum a existat cel mai mare centru de producere a vaselor cu decor ştampilat din Imperiul Roman, de unde s-a răspândit şi în Barbaricum.
Concepută ca un înlocuitor al vaselor terra sigillata, producţia de ceramică ştampilată va atinge apogeul în Dacia romană, influenţând centrele din provinciile vecine (Pannoniile şi Moesiile), dar mai ales pe cele din Barbaricum.

Tatarlı Höyük is one of the largest settlements of Cilicia Pedias (Campestris). It is located on the important commercial and military
routes at the western exit of the Amanus Mountains, in the eastern part of the Ceyhan district of Adana. It is also close to the Hittite-Kizzuwatna Caravan Road and connected to Central Anatolia by this route. This article discusses a seal and two seal impressions found in the excavations of Tatarlı Höyük in 2013 and 2015. One of the seal impressions is without an inscription and can be suggested to belong to the 16th-15th century BC. The other seal impression is inscribed with the
female name Pa-ti. We can propose a date for this hieroglyphic seal impression from the 14th to the 13th century BC. One terracotta
stamp seal was found out of context during the 2015 excavation season. We can read the name of the seal owner as Sà-li-pi with a proposed dating to the 15th-14th century BC.

Tatarlı Höyük, Ovalık Kilikya’nın (Kilikia Pedias / Campestris) en büyük yerleşim yerlerinden birisidir. Adana’da Ceyhan ilçesinin doğusunda, Amanos Dağları’nın batı çıkışındaki önemli ticari ve askeri yol güzergâhları üzerinde yer almaktadır. Hitit-Kizzuwatna Karavan Yolu’na da yakındır ve bu güzergâh ile Orta Anadolu’ya bağlanmaktadır. Makalenin konusunu, 2013 ve 2015 yılı kazılarında bulunmuş olan bir pişmiş topraktan mühür ve iki mühür baskısı oluşturmaktadır. Bu malzemenin biri yazıtsız bir mühür baskısıdır ve MÖ 16.-15. yüzyıla tarihlenmesi teklif edilmiştir. Diğer mühür baskısı ise yazıtlıdır ve Pa-ti kadın adı okunmaktadır. Tarafımızdan MÖ 14. yüzyıldan 13. yüzyıla geçiş dönemine tarihlenmiştir. Bulunan pişmiş toprak mühür üzerinde ise
Sà-li-pi adı okunabilmekte ve MÖ 15.-14. yüzyıla tarihlenmesi teklif edilmiştir.

Different ideas have been put forward by the researchers for the functions of the seals made of baked clay, stone and metal. The most common view among these is that particularly beginning from the Early Bronze Age, seals were used for expressions of ownership and registration. Another view is that seals could be stamping tools used on the body or in textile printing. The pottery with seal impressions recovered in excavations is important archaeological evidence demonstrating that the find termed a 'seal' was used also for decorative purposes. A total of 11 stamp seals dated to the Early Bronze Age were recovered from Küllüoba Höyük between the years of 1996 and 2019. It could be observed that the stamp seals uncovered in Küllüoba share many common characteristics with those unearthed in other contemporary settlements in Anatolia. Particularly, the close resemblance of the motifs seen on the stamping surfaces of the seals gives rise to the thought that there was a common sealing tradition in Anatolia in the Early Bronze Age. Towards the end of the Early Bronze Age, an organized trade had developed as a result of the close relations with distant regions. This study aims to examine the seals that have been found in the excavations at Küllüoba Höyük, located in Western Central Anatolia, which lay along a significant trade route and which has provided important data on urbanization and trade in the EBA.

Ein neues Siegelkorpus der Achämenidenzeit Ein erstes Korpus von datierten, herkunftsbestimmten Siegeln, die auf Tontafeln aus dem Babylonien der Achämenidenzeit überliefert sind, wurde von W. Balzer 2007 publiziert. Es ist das Ergebnis einer 1 systematischen Durchsicht einiger Zigtausend Tontafeln, die in über 100 Museen und Privatsammlungen aufbewahrt werden. Das Korpus besteht aus einem Katalog der gesiegelten Tontafeln, in dem mehr als 1300 Tontafelurkunden in chronologischer Abfolge ihrer Ausstellungsdaten aufgelistet sind. Sie stammen aus den Archiven des südbabylonischen Ur, Larsa, Uruk, denen des zentralbabylonischen Nippur, und denen des nordbabylonischen Dilbat, Borsippa, Babylon, Kî š , K û ta, Sippar. Hinzu kommen datierte Tontafeln nicht lokalisierbarer Herkunftsorte bzw. ungenannter Herkunftsorte aus Babylonien. Sie datieren in die

In her book “Early Dilmun Seals From Saar” Harriet Crawford published 93 seals and 13 tokens found in Saar.
Just 3 of them, like the one above, show “a love scene.”
I think that these “love scenes” were not pornographic images, but visualized the creation of the seal owners.