This emphasis on chryselephantine
sculpture partly needs to be read against the background of the prevailing ethnocentrism.
We are also treated to explanations of how ivory is shaped, bent, and molded to create a chryselephantine
statue, with illustrations, and why the pool in front of the statue was necessary; it's the glue in the joined strips that needs the moisture.
statuary in the ancient Mediterranean world (xvi+242 pages, 2 figures, 249 b&w photographs, 14 colour plates.
Top material is chryselephantine
(gilded bronze and ivory).
Preiss was quite particular, often using the chryselephantine
- a combination of ivory and bronze - for his models of young girls, usually in the form of a dancer but sometimes a simple standing nude with her arms flung joyously wide above her head.
It has also been proposed that it represents the legendary master craftsman Daidalos, who built the labyrinth at Knossos, or even the famous 5th-century BC Athenian sculptor Pheidias, creator of the chryselephantine
cult statue of Zeus at Olympia and master craftsman of the sculptures of the Parthenon on the Athenian Acropolis.
The Palaikastro kouros: a Minoan chryselephantine
statuette and its Aegean Bronze Age context (British School at Athens Studies 6).
If Shefton is correct that it quotes elements from the east pediment and the west frieze of the Parthenon as well as the chryselephantine
statues of Zeus at Olympia, and the Athena Parthenos at Athens (Shefton 1982), it would seem that a pot-painter was making (or a metalworker had made) the connection between a work signed by Pheidias (the Zeus) with sculptures which have been linked to teams of sculptors working under his supervision (the Parthenon).