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Journal articles on the topic 'History of jewellery'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Pereira, Beulah, Kevin Teah, Billy Sung, and Min Teah. "Building blocks of the luxury jewellery industry: conversations with a CEO." Asia Pacific Journal of Marketing and Logistics 31, no. 4 (September 9, 2019): 817–29. http://dx.doi.org/10.1108/apjml-10-2018-0415.

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Purpose The purpose of this paper is to conduct an in-depth interview with the Chief Executive Officer (CEO) of Larry Jewelry, a luxury jeweller with boutiques in Hong Kong and Singapore. Given the ever-evolving luxury jewellery market in South East Asia, it is paramount to understand the success factors of the luxury jewellery sector. Design/methodology/approach An in-depth interview approach is used to understand the antecedents of the success of the luxury jewellery sector. Specifically, this paper presents a complex business model of Larry Jewelry and an in-depth interview with the CEO of Larry Jewelry for current insights in the sector. Findings This paper highlights the history of Larry Jewelry, its product segments and the key elements of its business blueprint. Specifically, the success of Larry Jewelry is attributed to its business model and strong branding on quality, craftsmanship, rarity, human interaction and trust. Originality/value Despite the substantial growth in the luxury jewellery sector, there is relatively little research on the success factors of this industry, especially in South East Asia. The current research provides practical insights into business blueprint of a successful luxury jeweller in Hong Kong and Singapore.

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Wrześniak, Małgorzata. "Historia jednego motywu – rzecz o związkach biżuterii z architekturą." Załącznik Kulturoznawczy, no. 4 (2017): 221–49. http://dx.doi.org/10.21697/zk.2017.4.10.

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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

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Wrześniak, Małgorzata. "The Story of One Theme – on the Relationship Between Jewellery and Archi." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 379–404. http://dx.doi.org/10.21697/zk.2019ee.01.20.

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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

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4

Filipovic, Vojislav, Aleksandar Bulatovic, and Rada Gligoric. "Mound 28 from the Paulje necropolis in Brezjak. A contribution to the absolute chronology of the Late Bronze Age in Serbia." Starinar, no. 72 (2022): 73–90. http://dx.doi.org/10.2298/sta2272073f.

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The paper brings the results of archaeological excavations of Mound 28 at the Paulje necropolis, conducted in the autumn of 2019, along with the excavations of two adjacent mounds. All of the aforementioned mounds were partially damaged and eroded through decades of ploughing. Consequently, remains of a Late Bronze Age burial were recorded solely in Mound 28. According to the grave inventory comprised of bronze jewellery and analogies from concurrent necropolises, it is assumed that the burial belongs to a female individual (?). Besides the extraordinary examples of bronze jewellery, such as pins, an arm ring, bracelets, crescent-shaped pendants, torques, and remains of amber jewellery, the organic substructure below the fully cast arm ring has been successfully dated. According to the absolute dating, the jewellery is attributed to the 14th century BC, and the inventory of the grave completely corresponds to the previously dated features from the Paulje necropolis. Therefore, certain forms of bronze jewellery were provided with a more precise chronological position based on the absolute dates. The burial is attributed to the Brezjak culture.

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Kryzhanovskyi, Viacheslav. "Jewellery Focuses of Kyiv Dytynets." Archaeology, no. 4 (December 14, 2020): 90–104. http://dx.doi.org/10.15407/archaeologyua2020.04.090.

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Dytynets of ancient Kyiv is an inner fortified part within the “city of Volodymyr”, with a total area of 10—12 hectares. At different times, its territory has been explored by many archaeologists. During the period from 1907 to 2013, 22 archaeological objects were discovered and researched on the territory of the Kyiv Dytynets, as well as separate buildings, furnaces and various finds from ancient Rus’ cultural strata related to jewellery. All of them were located within the “city of Volodymyr” and were recorded at the sites of 10 excavations, namely: five objects were located at the address — Volodymyrska st., 2 (territory of the National Museum of History of Ukraine); two — on Volodymyrska st., 7—9; one — on Desiatynna st., 2; eight — on Velyka Zhytomyrska st., 2; four — on Volodymyrska st., 8; two — on Desiatynna st., 3—A—B, 5—D. According to their chronology, these objects are dated by the XI — first half of the XIII c. After analyzing the location of jewellery workshops, there can be identified at least two large focuses — the quarters of jewellers, where the masters lived and worked. The first (largest) was located along the even side of modern Volodymyrska st. and stretched from the northern slope of Starokyivska Mountain to Volodymyrska st., 8. From the west it was limited to Goncharnyi ravine, and from the east — the carriageway of Volodymyrska st. There were 11 jewellery production facilities on its territory. The total area of this quarter was about 3.5 hectares. This centre at different times could serve the Grand Ducal court with its palace complexes, work for the needs of the boyar nobility and clergy. The second was located between the streets: Volodymyrska (from the west) and Desiatynna (from the east). In the south, it was limited by the carriageway of Velyka Zhytomyrska st. There were 10 jewellery production facilities on its territory. The total area of this quarter was about 1.2 hectares. Most likely, this centre belonged to a greater extent to the estate of the Fedoriv monastery of the XII c. and served the princely court of Mstyslav Volodymyrovych, who built the monastery. Thus, since the XI c. on the territory of Kyiv Dytynets the jewellery manufacturing had been developing rapidly. Production workshops spread over an area of almost 5 hectares and existed until Kyiv devastation in 1240.

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Gralak, Tomasz. "Podstawy społeczne i ekonomiczne powstania fenomenu złotnictwa wielbarskiego." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 63 (October 28, 2022): 7–40. http://dx.doi.org/10.14746/sa.2022.63.1.

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In the early first century AC, in the north of Poland (predominantly in Pomerania), the Wielbark culture developed with its group of specific features. Among them were numerous items of jewellery. It seems that their use was related to an extended social hierarchy and distant inter-regional trade contacts. The raw material used by the jewellers was most probably obtained from melted Roman coins. Amber exports were at the economic basis of obtaining the coins. The most frequent forms of trinkets:snake- and adder-inspired bracelets, reverse pear pendants, S-shaped buckles and others, are of entirely foreign origin. Their prototypes can be traced back to the pre-Roman areas along the Danube occupied by the Thracians and the Dacians or the La Tène culture population.

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D’Eusanio, Manuela, Monica Serreli, and Luigia Petti. "Social Life-Cycle Assessment of a Piece of Jewellery. Emphasis on the Local Community." Resources 8, no. 4 (September 21, 2019): 158. http://dx.doi.org/10.3390/resources8040158.

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An increasing global focus on sustainability has affected the jewellery industry by raising questions about its environmental and social impacts and ethics due to the negative impacts of gold mining. It is essential to consider the social aspects of mining activities on the socio-economic environment and the affected individuals in order to understand the sustainability of the jewellery industry in a better way. Nonetheless, this is a gap in the evaluation of the issues of jewellery in the other phases of the life cycle, observed in the literature. For these reasons, the goal of this study is to assess the social and socio-economic aspects of a piece of jewellery from the artisan’s point of view by considering the relationship between a piece of jewellery and the local community. The United National Environmental Programme/Society of Environmental Toxicology and Chemistry (UNEP/SETAC) Guidelines on Social Life-Cycle Assessment, the UNEP/SETAC Methodological Sheets and the Subcategory Assessment Method were implemented. The findings show that a piece of jewellery can play an important role in supporting the local cultural heritage by innovating the traditional product, and promoting educational activities related to the history of the product and the territory. Consequently, the local community with its historical background gives an added value to the piece of jewellery. Further research on this topic is desirable in order to improve the knowledge of this particular sector and to identify other social issues that can be involved in this product.

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Cool, H. E. M., and C. Johns. "The Jewellery of Roman Britain." Britannia 29 (1998): 482. http://dx.doi.org/10.2307/526853.

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Sgourou, Marina, and Anagnostis P. Agelarakis. "Jewellery from Thasian graves." Annual of the British School at Athens 96 (November 2001): 327–64. http://dx.doi.org/10.1017/s0068245400005323.

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Jewellery found during recent excavations in the necropolis of Thasos fills a gap in our knowledge of minor arts in an important metal producing area of the Greek world. The pieces examined in this article form, in terms of technique, style and iconography, a group, the affinities of which can be traced to the Ionic traditions of the northern Aegean. Their artistic identity fits well with what we know about the character and development of other aspects of Thasian art, characterized by a close adherence to dominant artistic trends coming from both Attica and the East during the late Classical period. The anthropological study of the skeletal remains from the tombs gives further contextual information on the general condition of the people interred, while the objects deposited offer clues to the interpretation of issues concerning the iconography and symbolic use of precious grave goods.

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10

McNeil, Peter. "‘Sparks Set in Gold’: A New History of Jewellery." Art History 36, no. 4 (August 16, 2013): 867–70. http://dx.doi.org/10.1111/1467-8365.12040.

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Cool, H. E. M. "The Significance of Snake Jewellery Hoards." Britannia 31 (2000): 29. http://dx.doi.org/10.2307/526917.

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12

Vasks, Andrejs. "Late Bronze and Pre-Roman Iron Age Bronze Rings – Jewellery or Ingots?" Latvijas Vēstures Institūta Žurnāls 115, no. 1 (June 2022): 5–26. http://dx.doi.org/10.22364/lviz.115.01.

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Among the bronze items dating to Latvia’s Late Bronze Age (1100–500 BC) and the Pre-Roman Iron Age (500–1 BC) there are rings with open ends that resemble bracelets or necklaces by size. The number of bronze rings and their fragments is not large – 57 units, but that of fragments of casting moulds is much higher – 856. The article deals with the data of both these rings and the respective castings. The main focus is on the problem of the function of these rings: whether they were ingots or jewellery. The author argues that, although bronze rings were used as jewellery, it was probably not their only or even their main function. Bronze rings were used for more convenient storing and transporting of metal, but also as a value equivalent in exchange operations.

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Ben-Tor, Amnon. "A Decorated Jewellery Box from Hazor." Tel Aviv 36, no. 1 (June 2009): 5–67. http://dx.doi.org/10.1179/204047809x439442.

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14

Purbrick, L. "Brilliant Effects: A Cultural History of Gem Stones and Jewellery." Journal of Design History 24, no. 1 (February 22, 2011): 88–90. http://dx.doi.org/10.1093/jdh/epq052.

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15

Pedersen, Unn. "Viking Identities: Scandinavian Jewellery in England. Medieval History and Archaeology." Norwegian Archaeological Review 47, no. 2 (July 3, 2014): 225–27. http://dx.doi.org/10.1080/00293652.2014.954609.

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Crummy, Nina, Martin Henig, and Courtney Ward. "A Hoard of Military Awards, Jewellery and Coins from Colchester." Britannia 47 (February 11, 2016): 1–28. http://dx.doi.org/10.1017/s0068113x16000027.

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AbstractA hoard of objects found at the early Roman colony at Colchester in a small hole scraped into the floor of a house destroyed during the Boudican revolt includes a group of high-quality gold jewellery, three silver military awards, a bag of coins, an unusual silver-clad wooden box and other items. Buried in haste as the British approached, they provide a remarkably clear image of one couple's background, achievements, taste and social standing. Abullashows that the man was a Roman citizen, the awards that he was a veteran soldier of some distinction, while parallels for the woman's jewellery suggest that it was acquired in Italy.

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Ali Hassaan, Galal. "MECHANICAL ENGINEERING IN ANCIENT EGYPT, PART IV: JEWELLERY INDUSTRY (BRACELETS)." EPH - International Journal of Science And Engineering 2, no. 1 (March 27, 2016): 46–59. http://dx.doi.org/10.53555/eijse.v2i1.129.

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This is the 4th research paper in a series of papers aiming at investigating the history and development of mechanical engineering in Ancient Egypt. The paper presents the development of bracelets industry during the ancient Egypt history from predynastic to late period. Samples of their scenes and bracelet products are presented. The paper highlights the deterioration of the bracelets industry in the intermediate periods of the ancient Egypt history and the impact of the strongest dynasties on the quality and sophistication of it.

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Kunst, Christiane. "Ornamenta Uxoria. Badges of Rank or Jewellery of Roman Wives?" Medieval History Journal 8, no. 1 (April 2005): 127–42. http://dx.doi.org/10.1177/097194580400800107.

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19

Lysenko, Aleksandr V., and Valentina I. Mordvintseva. "Metal Jewellery in the Context of a Sanctuary: Interpretation Potential." Ancient Civilizations from Scythia to Siberia 25, no. 2 (December 9, 2019): 255–307. http://dx.doi.org/10.1163/15700577-12341352.

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Abstract Metal jewellery used as votive offerings is discovered at the “barbarian” mountain sanctuary of Eklizi-Burun (the Crimea) and dating from the 1st to the 3rd centuries AD. Most of these items were probably part of female costume known from funerary contexts in the Central Crimea, which differ both regarding their location (in the Crimean Foothills and on the South-Coast), as well as the specific features of the burial rite (“cremation” vs. “inhumation”). A small part of the jewellery is characteristic only for the cemeteries in the South-Coast area containing burials with remains of cremation. An analysis of the cultural environment, in which the jewellery items deposited in the Eklizi-Burun sanctuary of the Roman period were produced and used, suggests that its worshippers came from communities living on the southern macro-slope of the main ridge of the Crimean Mountains and practised cremation of the dead. Apparently, these people appeared in the Graeco-Roman narrative tradition and local epigraphic documents of the Roman period as “Tauri”, “Scythian-Tauri”, and “Tauro-Scythians” inhabiting “Taurica”. They are presumed to have appeared in the Crimean Mountains in the 2nd and 1st centuries BC (migrating from areas with archaeological cultures influenced by the La Tène culture?) and to have maintained their cultural identity until the beginning of the 5th century AD.

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Kodišová, Lucie, Lenka Vacinová, Jiří Sejkora, and Luboš Polanský. "Treasury of the National Museum – Jewellery and Numismatic Cabinet." Muzeum Muzejní a vlastivedná práce 55, Supplementum (2017): 49–57. http://dx.doi.org/10.1515/mmvp-2017-0035.

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The new Treasury of the National Museum will present rare crafts-manship of precious stones and metals in connection with the natural form of these materials. The Treasury will be followed by a Numismatic Cabinet, which will introduce the history of money from Antiquity till today. The Treasury and the Numismatic Cabinet will be interconnected in a joint hall devoted to gold and silver and they will be thematically intertwined in the hallway with the presentation of production technologies. The Treasury is created in close cooperation within the National Museum – the Natural History Museum and the Historical Museum. The base line will consist of minerals from diamonds to quartz and organic matter, which will join together with goldsmiths and artisanal arts into a unique complex. The main goal of the new Numismatic Cabinet is the establishment of a numismatic exposition that will be both scholarly exact and intriguing at the same time, educating visitors of the development of payment methods from Antiquity until today in a comprehensible and attractive way. The chronological exposition will be divided into several basic thematic sequential units.

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BAXTER, P. "Cross-Cultural Controversies in the Design History of Southwestern American Indian Jewellery." Journal of Design History 7, no. 4 (January 1, 1994): 233–45. http://dx.doi.org/10.1093/jdh/7.4.233.

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Farooq Swati, Muhammad, and Makeen Khan. "A Note on Jewellery Moulds from Miadam, Swat." South Asian Studies 17, no. 1 (January 2001): 189–98. http://dx.doi.org/10.1080/02666030.2001.9628600.

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MOOREY, P. R. S. "Material Aspects of Achaemenid Polychrome Decoration and Jewellery." Iranica Antiqua 33 (January 1, 1998): 155–72. http://dx.doi.org/10.2143/ia.33.0.519203.

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MOOREY, P. R. S. "Material Aspects of Achaemenid Polychrome Decoration and Jewellery." Iranica Antiqua 33, no. 1 (April 14, 2005): 155–72. http://dx.doi.org/10.2143/ia.33.1.519203.

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25

Crummy, Nina. "Bears and Coins: The Iconography of Protection in Late Roman Infant Burials." Britannia 41 (July 5, 2010): 37–93. http://dx.doi.org/10.1017/s0068113x1000005x.

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ABSTRACTA number of infant burials in Britain, both cremations and inhumations, contained a consistent deposit of a small jet bear, black mineral jewellery, a coin, and a pottery beaker. Some of the graves held several examples of these items, and some a wider variety of objects. Comparison with more obviously amuletic grave deposits from Butt Road, Colchester, and Lankhills, Winchester, suggests that the coins were selected for their reverse image, and that both they and the bears are representations of guardians placed in the burials to ensure that the child did not enter the underworld alone and unprotected. These bears are set in the wider context of the animal's iconography and mythology, with particular reference to the Greek cult of Artemis, who oversaw childbirth and child-rearing. The choice and importance of materials and the positions of objects within graves are also briefly explored and the social identity of the dead infants is examined. In an appendix of other burials containing jet animals, the Chelmsford hoard of jet jewellery is reinterpreted as grave goods from the inhumation of a young woman.

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Majumder, Sarasij. "The Gift of Solidarity: Women Navigating Jewellery Work and Patriarchal Norms in Rural West Bengal, India." Journal of South Asian Development 15, no. 3 (December 2020): 335–51. http://dx.doi.org/10.1177/0973174120984578.

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In the context of declining women’s participation in the formal economy in India, this article looks at how women’s work in the informal sector of jewellery-making emerges as a gift. Gendered discourses on work turn men, who worked as labourers, into supervisors who monitor and control work situations and sort and grade final products in jewellery workshops. Following Anna Tsing, I argue that jewellery products start their lives as gifts but as they move from women (who are seen as housewives and family members) to men (who are seen as professionals/experts within the workshop) and beyond, they become commodities. This journey from gift to commodity within the workshop is made possible by a gendered discourse on work and by the dynamics within small landholding middle-caste households. Further, I underscore that women’s informal networks often help them cope with the emotional and affective tensions of work and the demands imposed on them by the men and their own households. Women facilitate the transition from gift to commodity by colluding amongst themselves to work in these informal spaces to maintain household status within peri-urban villages of West Bengal.

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Watts, Dorothy J. "The Thetford Treasure: A Reappraisal." Antiquaries Journal 68, no. 1 (March 1988): 55–68. http://dx.doi.org/10.1017/s0003581500022484.

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The Thetford Treasure of late Roman gold jewellery and silver utensils was published in 1983 by Catherinejohns and Timothy Potter, who believe it to be connected with the cult of Faunus, an ancient Latian god hitherto unattested in Roman Britain. There do appear to be iconographical links between the jewellery and several of the inscriptions, yet a number of inscriptions would, in another fourthcentury context, have been considered Christian. Johns and Potter have rejected such identification. The purpose of this paper is to re-examine these particular inscriptions and also to investigate the possible use for the silver implements in the Treasure. Such examination suggests a Christian element. An attempt is made to explain the presence of this component in an otherwise pagan hoard against the background of religious instability in the second half of the fourth century.

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Stronge, Susan. "Indian Jewellery and the West: Stylistic Exchanges 1750–1930." South Asian Studies 6, no. 1 (January 1990): 143–55. http://dx.doi.org/10.1080/02666030.1990.9628408.

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TREISTER, Mikhail. "Eastern Jewellery in Sarmatian Burials and Eastern Elements in the Jewellery Production of the North Pontic Area in the 1st. Century AD." Iranica Antiqua 39 (January 1, 2004): 297–321. http://dx.doi.org/10.2143/ia.39.0.503899.

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Bartha, Annamária. "A 14. századi anyagi kultúra tükröződése Magyarországi Klemencia halotti inventáriumában." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 2 (2013): 183–90. http://dx.doi.org/10.26080/krrmkozl.2013.2.183.

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This article investigates the inventory of belongings owned by Clémence of hungary, queen of France. the inventory, created after her death, lists within 748 „items” the estates of Clémence, and the exact prices for which they were sold. among others, descriptions of various pieces of clothing, jewellery, religious and secular pieces of art, numerous horses and chariots, and even the royal tablewear are kept by this interesting source of 14th century culture history.

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Crummy, Nina. "A Hoard of Military Awards, Jewellery and Coins from Colchester – Corrigendum." Britannia 47 (July 13, 2016): 29. http://dx.doi.org/10.1017/s0068113x16000301.

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Pásztor, Emília, Evelin Pap, and Réka Cs. Andrási. "A halomsíros kultúra különleges női sírja Sükösd határában." Archaeologiai Értesítő 147, no. 1 (March 3, 2023): 85–104. http://dx.doi.org/10.1556/0208.2022.00027.

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AbsztraktSükösd határában 2020 decemberében egy halomsíros kultúrához tartozó, különlegesen gazdag mellékletekkel ellátott temetkezés került feltárásra. Az eredeti helyzetben megfigyelt fiatal nő egykori, díszes viseleti elemei közül kiemelkedik a bronz lábtekercspár és a sírban talált borostyánleletek.In December 2020, a burial belonging to the Tumulus culture with particularly rich grave goods was excavated at Sükösd. The young woman was discovered intact and was richly adorned with jewellery. The most outstanding of these are the bronze anklets and the amber finds.

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Ko, Lauren N., Daniela Kroshinsky, and Peter C. Schalock. "Assessing the validity of self-reported history of rash caused by metal or jewellery." Contact Dermatitis 78, no. 3 (November 27, 2017): 208–10. http://dx.doi.org/10.1111/cod.12928.

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Wasmuth, Melanie. "Persika in der Repräsentation der ägyptischen Elite." Journal of Egyptian Archaeology 103, no. 2 (December 2017): 241–50. http://dx.doi.org/10.1177/0307513317743725.

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Egyptian elite representation in the Twenty-seventh Dynasty features a number of statues with Persian honour awards. The following paragraphs discuss the socio-cultural significance of displaying Persian jewellery in the statues of Udjahorresnet in the Musei Vaticani, of Ptahhotep in the Brooklyn Museum, and of a man of unknown name in the Landesmuseum Karlsruhe. The context of these persika will be contrasted to those in the tomb reliefs of Petosiris in Tuna el-Gebel, which open up very different lines of interpretation.

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Heward, Christine. "The Class Relations of Compulsory School Attendance: The Birmingham Jewellery Quarter, 1851-86." History of Education Quarterly 29, no. 2 (1989): 215. http://dx.doi.org/10.2307/368310.

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Harden, Rosemary. "Chained Melody, or Putting Paco Rabanne in his Place." Costume 41, no. 1 (June 1, 2007): 126–36. http://dx.doi.org/10.1179/174963007x182390.

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This paper focuses on one facet of the career of the French designer, Paco Rabanne, the dresses made from plastic links joined together with small links of chain. The author questions whether these dresses were closer to jewellery than to high fashion and seeks answers by comparing Paco Rabanne to his contemporaries and by looking at the cultural context of the mid-1960s when he was making these creations.

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Bótor, Tímea. "Примечания к письменному наследству московского великого князя Ивана Данило Калиты (начало XIV века)." Specimina Nova Pars Prima Sectio Medaevalis 5 (May 17, 2022): 73–97. http://dx.doi.org/10.15170/spmnnv.2009.05.05.

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In the first third of the fourteenth century a new type of document appeared in Muscovite Rus': the testamentary will. Examining the documents, we can follow the development of ownership relations, the operation of the grand princely court, and the division of movable and immovable property, tax revenues, personal property, jewellery, and valuable clothing items. The testamentary wills provide information conceming the history of 'Kalitovič' family, giving us insights into the events preceding the birth of the Russian state and the development of its institutions.

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Shahin, Ayman Aly. "Sachfahndung nach einem Raubmord in Saqāwa." Der Islam 98, no. 1 (March 30, 2021): 175–80. http://dx.doi.org/10.1515/islam-2021-0007.

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Abstract This article presents the edition of a late 3rd/9th- or early 4th/10th-century search warrant for stolen goods (P.Cair.EgLib.inv. 536v). The scribe reports that two black men (aswadayn) were traveling on two donkeys, one of which was also loaded with a saddlebag of money, jewellery and clothes. Upon reaching the Upper Egyptian village of Saqāwa, the two black men were assaulted and murdered, and the goods and donkeys stolen. This document corroborates descriptions in historical works of frequent rebel attacks in various regions of Egypt in the 3rd/9th and 4rd/10th centuries.

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Pankhurst, Richard. "Queen Ṭǝru Wärq’s Necklace." Aethiopica 12 (April 7, 2012): 202–6. http://dx.doi.org/10.15460/aethiopica.12.1.104.

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Miscellaneous ArticleThe article, which traces the Ethiopian history of beads and necklaces, focuses on an unpublished necklace which belonged to Emperor Tewodros’s consort Queen Ṭǝru Wärq. Acquired by Robert Napier, apparently after her death in 1868, it was presented by Napier to the then British Prime Minister Benjamin Disraeli. The necklace, though unique, is in Ethiopia’s necklace tradition; and utilizes the country’s three main traditional types of jewellery: silver caskets, silver filigree, and glass beads. A work of some sophistication it is not without artistic, as well as historical interest.

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Karimova, Risalat U. "On History of Cultural Traditions Transformation." Oriente Moderno 96, no. 1 (August 18, 2016): 3–24. http://dx.doi.org/10.1163/22138617-12340092.

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The article examines the development of traditional arts and crafts among Kazakhstan’s Uyghurs under the influence of various historical factors. The Uyghurs of Kazakhstan and other Central Asian countries comprise ethnographic group which developed over the last centuries separated from the main Uyghur population in Xinjiang, China, which resulted in emergence of their particular features. The article argues that the transformation of traditional arts and crafts among the Uyghurs of Kazakhstan occurred under the influence of political events, which changed dramatically the life of the entire population of the Russian Empire. With the establishment of Soviet power, the country’s rapid industrialization meant that products produced by individuals in workshops could not compete with less expensive and more practical products manufactures at factories and plants. Thus, blacksmiths, and artisanal producers of leather and cloth declined. Nevertheless, certain types of traditional art crafts (jewellery art, production of musical instruments, working out calabash) survived albeit on a limited scale due to the development of national idea, which requires symbols of ethnic culture. Modern artists exploit fantasy and go beyond traditional frames of ethnicity. The article argues that the arts and crafts of the Uyghurs received a new impetus in the Soviet era, despite the threat of a certain loss of ethnic peculiarities.

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Abramzon, Mikhail G., Mikhail Yu Treister, and Nikolaï I. Vinokurov. "Two Hoards of Coins and Jewellery Items from the Time of the Roman-Bosporan War of AD 45–49 from the Site of Artezian." Ancient Civilizations from Scythia to Siberia 18, no. 2 (2012): 207–78. http://dx.doi.org/10.1163/15700577-12341235.

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Abstract This article is the publication of two hoards found in 2009 during excavations of the fortified settlement of Artezian in the Eastern Crimea, which met its end at the very beginning of the Roman-Bosporan war of AD 45–49. The assemblages contain 244 bronze Bosporan coins from the end of the 1st century BC to the first half of the 1st century AD (Caesarea, Agrippia, Aspurgus, Gepaepyris, Mithridates VIII), 10 silver denarii of the Roman emperors Augustus and Tiberius, and also various items of gold, silver and bronze jewellery and glass vessels. The discovery of these hoards not only provides further archaeological confirmation of the historical events of the mid-1st century BC, but also makes it possible to establish, with more precision, the chronology of certain categories of jewellery items and glass vessels, which in a number of cases had only been represented by rare specimens of Bosporan, Eastern-Mediterranean and Roman workmanship of a high level. Deserving of special attention is the find, in the context of hoards, of a well-preserved gladius of the Mainz type. For the first time it has proved possible reliably to record the initial phase of the Bosporan-Roman War of AD 45–49 at an archaeological site, situated within the territory of the European Bosporus. The unique nature of the materials from Artezian lies in their diversity and the narrow chronological range of their hoarding, linked to important events of not only Bosporan but also Mediterranean history, which had a considerable influence on the military-political situation in the Pontic region.

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Gill, D. "Review. The Jewellery of Roman Britain: Celtic and Classical Traditions. C Johns." Classical Review 47, no. 2 (February 1, 1997): 400–402. http://dx.doi.org/10.1093/cr/47.2.400.

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Khairedinova, Elzara. "Finger Rings with the Image of Archangel Michael of the Late 6th – 7th Centuries from Crimea." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 32–46. http://dx.doi.org/10.15688/jvolsu4.2019.6.3.

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Introduction. In the Early Middle Ages, Crimea was in the sphere of influence of the Eastern Roman Empire. In the material culture of the Early Medieval population of Crimea imprinted with archaeological monuments “Byzantine components” are quite clearly visible. The group of jewellery that clearly demonstrates the Byzantine influence includes bronze finger rings with the image of Archangel Michael originating from the GothoAlanian burial grounds of the South-Western Crimea and from the necropoleis of the Kerch Peninsula. The article substantiates the attribution and dating of the finger rings, reveals a circle of analogies, interprets the meaning of the images, and also considers the peculiarities of wearing this type of jewellery. Methods. The author determines dating of the Crimean findings by the accompanying inventory in the graves. The paper reveals a circle of analogies for the attribution of the finger rings, analyzes findings from the territory of the Eastern Roman Empire and from areas with political and economic ties. Analysis. In the late 6th – 7th centuries bronze finger rings with the image of Archangel Michael imported from Byzantium and produced in local workshops on imported samples were popular in Crimea. The signet ring of variant A of the late 6th – the first quarter of the 7th cc. with a profile portrait of the Archangel and the monogram of his name, undoubtedly, refers to Byzantine products brought from Asia Minor. The two finger rings of variant B engraved with the face and the almost full-length figure of the Archangel were made by Bosporan artisans in the 7th century on the Byzantine samples. The finger rings from Crimea depicting the Archangel belonged to young women who had a high social status. They were worn on hands, as a rule, on the right forefinger and in breast necklaces that connected fibulae. Christian symbols and plots placed on signet rings, in the view of the ancient Christians, should have given the jewellery the properties of an amulet which protected the person wearing it from all sorts of troubles. Results. The presented finger rings depicting Archangel Michael are an important source for studying the early stage of the history of Christianity in the South-Western Crimea and the Bosporus. Findings of this kind testify to the unity of culture in the Christian world and are a good example of close economic and cultural ties between the region and the Byzantine Empire in the Early Middle Ages. Key words: South-Western Crimea, Bosporus, Crimean Goths, Byzantine jewellery, finger rings, amulets, Archangel Michael.

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Batten, Alicia J. "Neither Gold nor Braided Hair (1 Timothy 2.9; 1 Peter 3.3): Adornment, Gender and Honour in Antiquity." New Testament Studies 55, no. 4 (August 28, 2009): 484–501. http://dx.doi.org/10.1017/s0028688509990075.

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This article examines the relationships between adornment, gender and honour in the Graeco-Roman world in order to provide a broad context for understanding the attempts to curtail women's adornment in 1 Tim 2.9 and 1 Pet 3.3. It argues that while many male writers criticize women who adorn themselves, often accusing such women of luxuria, not all women shared such a perspective. Rather, women may well have valued jewellery, fine clothes and elaborate hair as means of conveying status and honour, and as important forms of economic power. These factors require consideration when attempting to understand why the authors of 1 Timothy and 1 Peter counsel women to avoid gold, pearls, braided hair and fine clothing.

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Lussier, Suzanne. "‘Habillement de la Dite Dame Reine’: An Analysis of the Gowns and Accessories in Queen Henrietta Maria's Trousseau." Costume 52, no. 1 (March 2018): 26–47. http://dx.doi.org/10.3366/cost.2018.0046.

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When his sister Princess Henrietta Maria left France in 1625 to marry Charles I of England, King Louis XIII provided her with a magnificent trousseau which included furniture, carriages, garments and jewellery. The seventeenth-century French text was translated into English by this author for Erin Griffey's publication on Henrietta Maria. 1 Using contemporary paintings and sumptuary accounts, this article examines the gowns listed in Henrietta Maria's inventory and considers problems inherent to the translation of seventeenth-century dress terminology. It also sheds important light on an understudied period of French court dress.

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Miśta‐Jakubowska, Ewelina, Renata Czech Błońska, Władysław Duczko, Aneta Gójska, Grzegorz Żabiński, Paweł Ciepielewski, Ryszard Diduszko, Anna Kosińska, and Agnieszka Brojanowska. "Research on chemical soldering in early medieval jewellery: The case of lunula‐type Viking age ornaments." Archaeometry 64, no. 3 (December 3, 2021): 698–713. http://dx.doi.org/10.1111/arcm.12730.

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Gill, David W. J. "Jewellery in Britain - C. Johns: The Jewellery of Roman Britain: Celtic and Classical Traditions. Pp. xvii + 246, 148 ills. London: UCL Press, 1996. £30. ISBN: 1-85728-566-2." Classical Review 47, no. 2 (October 1997): 400–402. http://dx.doi.org/10.1017/s0009840x00251317.

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Ataev, Gamzat D., and Tufan I. Akhundov. "SUCCESSION OF THE MANAS GROUP MONUMENTS AND KAYAKENT-KHOROCHOY CULTURES OF THE BRONZE AGE IN THE NORTHEAST CAUCASUS." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 128–53. http://dx.doi.org/10.32653/ch11128-153.

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The article is devoted to the study of the problem of continuity and innovations of the archaeological formations of the North-Eastern Caucasus: the Manas group of monuments of the early stage of the Middle Bronze Age and the Kayakent-Khorochoyculture of the late stage of the Middle Bronze Age and the early stage of the Late Bronze Age. Based on the analysis of archaeological material (settlements, burial structures and rituals, ceramics, jewellery, tools, weapons), the issues of the decline of the Manas group of monuments and the formation on its basis of a new archaeological formation - the Kayakent-Khorochoi culture - have been investigated. The study of the materials of these sites allows us to assert a smooth, evolutionary transition of the Manas group of sites into the Kayakent-Khorochoy culture. According to the main features of culture (settlements and dwellings, ceramics, weapons, jewellery and other implements, except for burial structures and rituals, antimony appendages), the Kayakent-Khorochoy culture is genetically related to the previous Manas group of monuments. The study of the monuments of the Middle and Late Bronze Age in central Dagestan makes it possible to reveal more fully and deeper than before the problem of the transformation of the Manas group of monuments of the early stage of the Middle Bronze Age into the Kayakent-Khorochoy culture. In addition, the research is important for clarifying the problems of cultural genesis in this region, the development of Middle and Late Bronze Age cultures in the Northeast Caucasus, and identifying the patterns of their development at the time in question.

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Hanz, Nina. "Part of the landscape: Interview with Miek Zwamborn." JAWS: Journal of Arts Writing by Students 7, no. 1 (December 1, 2022): 41–49. http://dx.doi.org/10.1386/jaws_00030_7.

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Revisiting a conversation that took place in 2019, Nina Hanz interviews Miek Zwamborn about her artistic practice. Spanning jewellery making, cooking, writing and gathering information from her shifting habitats, Zwamborn shares her path as a transdisciplinary artist. With a particular focus on her publishing history, the two discuss gentle research approaches that work in harmony with nature and how the collection of objects opens a portal to new knowledges. As the subject of place emerges, discussions around The Knockvologan Studies, Zwamborn and her partner Rutger Emmelkamp’s project space on the island of Mull, arise. Occurring pre-pandemic, the transcription documents missed connections and how life can pull one to unpredictable places.

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SASS, Benjamin. "Jewellery in the Kingdoms of Israel and Judah and among their Neighbours." Revue des Études Juives 166, no. 1 (June 30, 2007): 259–63. http://dx.doi.org/10.2143/rej.166.1.2020284.

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