Relevant bibliographies by topics / Jewelry, Byzantine

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  2. Dissertations / Theses
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Academic literature on the topic 'Jewelry, Byzantine'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Jewelry, Byzantine"

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Барбалат, О. В., and О. В. Школьна. "ВІЗАНТІЙСЬКО-КИЄВОРУСЬКІ ЕМАЛЬЄРНІ ТРАДИЦІЇ У ДИЗАЙНІ СУЧАСНИХ ЮВЕЛІРНИХ ВИРОБІВ УКРАЇНИ." Art and Design, no. 2 (September 21, 2020): 14–26. http://dx.doi.org/10.30857/2617-0272.2020.2.1.

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The purpose of this research is to understand the integration of the Byzantium-Kyivan Rus enameling traditions in modern Ukrainian jewelry design. The research is applied historical-cultural and artistic-design scientific approaches in combination with comparative and presentation methods. The results of the research prove the influence of Byzantine and Kyivan Rus enamel traditions on modern Ukrainian jewelry. The stylistic and artistic features of the items were examined on example of outstanding enamel jewelry of Byzantine and Kyivan Rus time. As a result the main principles of design requirements and quality of hot enamel jewelry were defined. This research highlights the principles which elites, as bearers of the highest spiritual values, used as guide lines when choosing and ordering jewelry products in ancient times. In order to understand the manufacturing and producing ancient enamel jewelry pieces the ancient jewelry centers are being studied and characterized in this research. We have analyzed the influence of Byzantium and Kievan Rus enameling traditions on the modern Ukrainian jewelry design. Also we studied how it changed with changing the conditions and intensity of manufacturing. Thanks to this research it has been explained how the Byzantine and Kievan Rus enameling traditions influenced modern Ukrainian jewelry design. The researchers were determined to create a symbiosis of modern scientific and technical methods with the ancient hot enamel techniques. This way the research reveals the newest methods of working with hot enamel that are on their initial phase in modern Ukrainian jewelry industry. The material of this research can be used in development of academic disciplines related to enameling techniques and jewelry design. It can be used as a source of inspiration for creating new conceptual jewelry collections using hot enamel. This research can help influence modern jewelry design in Ukraine. Results of this research can be used not only to popularize the Byzantine-Kievan Rus jewelry traditions in Ukraine but also for quality representation of Ukrainian jewelry art in the world
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Volodarets-Urbanovich, Ia V. "ABOUT ONE TYPE OF JEWELRY OF THE HEAD OF THE SLAVS: ON THE MATERIALS OF MALYI RZHAVETS AND MARTYNIVKA TREASURES." Archaeology and Early History of Ukraine 30, no. 1 (March 25, 2019): 201–17. http://dx.doi.org/10.37445/adiu.2019.01.16.

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The article analyses «bobo-similar» plates jewelry from Malyi Rzhavets and Martynivka — four specimens. In 1889 near the village Malyi Rzhavets was found a small treasure of women’s jewelry. In 1907, in the village Martynivka was found another treasure that included the women’s and men’s jewelry and Byzantine wares. Both complexes belong to the treasure of «Martynivka» type or the first chronological hoard-group by O. A. Shcheglova. One can assume the interpretation of these products as large temple ornament or decoration of scythe. Quite similar (though not entirely similar) bronze ware — lamellar temporal rings — are known in the antiquities of Roman times in Central Lithuania. The chronology of these jewelry — the phase B2 or B2 / C1 — 100—230 АD. Finds from Central Lithuania and treasures from Malyi Rzhavets and Martynivka differ in some design features, ornamental motifs and sizes. This can explain the chronological difference.
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Zhilina, Natalya V. "Volga Bulgaria and Old Rus’. Comparative Characteristics of Attire of Adornments in Reconstructions of the 11th – 13th Centuries." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 34 (December 15, 2020): 125–44. http://dx.doi.org/10.24852/pa2020.4.34.125.144.

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On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.
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de Bruijn, Erik, and Dennine Dudley. "The Humeima Hoard: Byzantine and Sasanian Coins and Jewelry from Southern Jordan." American Journal of Archaeology 99, no. 4 (October 1995): 683. http://dx.doi.org/10.2307/506189.

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Mastykova, Anna. "About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.

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The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in the form of a plate on hinges appeared in the Mediterranean in the 2nd – 3rd centuries and existed until the 7th century (inclusive). It should be noted that there is a noticeable Byzantine / Mediterranean component in the female costume from Dzhurga Oba, which is represented primarily by the cloisonne inlay style jewelry – earrings, rings, bracelets. At the same time, the presence of a pair of brooches from the East German tradition indicates the mixed character of the female prestigious costume from Dzhurga-Oba, which is typical for the Cimmerian Bosporus of the Great Migration Period.
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Zhilina, Natalia V. "BYZANTINE ART AND ITS SLAVIC-RUSSIAN CONTEMPORANEITY. BASED ON MEDIEVAL JEWELRY ART OF 6–11TH CENTURIES." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 3 (2017): 9–25. http://dx.doi.org/10.28995/2073-6355-2017-3-9-25.

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Ashkenazi, D., I. Taxel, and O. Tal. "Archeometallurgical characterization of Late Roman- and Byzantine-period Samaritan magical objects and jewelry made of copper alloys." Materials Characterization 102 (April 2015): 195–208. http://dx.doi.org/10.1016/j.matchar.2015.01.019.

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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.

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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.
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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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Oddy, Andrew, and Susan La Niece. "Byzantine gold coins and jewellery." Gold Bulletin 19, no. 1 (March 1986): 19–27. http://dx.doi.org/10.1007/bf03214640.

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Dissertations / Theses on the topic "Jewelry, Byzantine"

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Ogden, Jack M. "Gold jewellery in Ptolemaic, Roman and Byzantine Egypt." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1457/.

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Stolz, Yvonne. "Early Byzantine Jewellery and Related Finds from the Underwater Excavations in Abuqir Bay in Egypt: their Classification, Production, and Function." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487074.

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This thesis catalogues and discusses the early Byzantine jewellery and related finds from recent underwater excavations in Abuqir Bay in Egypt. The finds come from two submerged sites: site T, possibly Menouthis with its pilgrimage shrine of SS Cyrus and John, and Thonis/Herakleion. However, the finds from site T excel those from Thonis/Herakleion in quantity and quality. As relatively little jewellery from the early Byzantine period has so far been found in datable contexts elsewhere within the Byzantine Empire, the Abuqir Bay finds provide a unique opportunity for an in-depth study of early Byzantine jewellery. In addition and based on the new finds, this thesis aims at gaining a deeper understanding of the two submerged sites, especially of site T. The text consists of three main parts: in the first, the material will be classified, Le. dated and .Iocalised. The second part deals with the production and production centres of early Byzantine jewellery and the third discusses the function of the finds. As it will be shown, the Abuqir Bay finds can be divided into three groups: one group represents an 'interregional fashion', which probably spread from Constantinople; the second can be linked to other jewellery produced in early Byzantine Egypt; and the third contains pieces of jewellery that were probably made at a gold workshop attached to site T. Evidence for the existence of this workshop is provided by some tools, numerous pieces of jeweller's waste and raw materials. According to the finds, the site T workshop was able to produce jewellery of the same high quality and in the same manner, which one would maybe expect from Constantinople. Other finds from site T can be identified as Christian offerings and eulogiai; thus, they contribute to the classification of the site as a Christian pilgrimage centre.
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Trojanová, Martina. "Kříž zv. královny Dagmar." Doctoral thesis, 2021. http://www.nusl.cz/ntk/nusl-447989.

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At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enkolpion, i.e. the hanging cross (gr. Έγϰόλπιου, on the chest). Both its sides are decorated with figurative scenes. The crucifixion of the Christ is depicted on one side. The Great Deēsis with St. Basil the Great and St. John Chrysostom is shown on the other side. There is a hollow in the body of the cross, in which a relic was deposited - most likely a particle of the wood of the True Cross. Although the Queen Dagmar's Cross is considered a national treasure in Denmark, only a little attention has been paid to it so far. It is almost unknown to the Czech researchers (it is briefly mentioned by J. E. Wocel, A. B. Černý, J. Květ, K. Chytil and most recently P. Balcárek). Regrettably, the most of researchers only...
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Books on the topic "Jewelry, Byzantine"

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Late Byzantine rings, 1204-1453. Wiesbaden: Reichert Verlag, 2013.

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Drevnerusskiĭ i︠u︡velirnyĭ ubor: Osnovnye tendent︠s︡ii formirovanii︠a︡. Sankt-Peterburg: "Nestor-isorii︠a︡", 2005.

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L' oreficeria nell'impero di Costantinopoli: Tra IV e VII secolo. Bari: Edipuglia, 1999.

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Intelligible beauty: Recent research on Byzantine jewellery. London: British Museum, 2009.

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Vizantijski nakit u Srbiji: Modeli i nasleđe. Beograd: [Arheološki institut], 2010.

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editor, Baldini Isabella, and Morelli Anna Lina editor, eds. Oro sacro: Aspetti religiosi ed economici da Atene a Bisanzio. Bologna: Ante quem, 2014.

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Byzantinischer Schmuck des 9. bis frühen 13. Jahrhunderts: Untersuchungen zum metallenen dekorativen Körperschmuck der mittelbyzantinischen Zeit anhand datierter Funde. Wiesbaden: Reichert Verlag, 2011.

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muzej--Beograd, Narodni. Kasnoantički i ranovizantijski nakit od zlata u Narodnom muzeju u Beogradu. Beograd: Narodni muzej Beograd, 2001.

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1904-, Ross Marvin C., Zwirn Stephen R, and Boyd Susan A, eds. Catalogue of the Byzantine and early medieval antiquities in the Dumbarton Oaks Collection. 2nd ed. Washington, D.C: Dumbarton Oaks Research Library and Collection, 2005.

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Eugenia, Chalkia, Greece Hypourgeio Politismou, and Vyzantino Mouseio (Athens Greece), eds. The Kratigos, Mytilene treasure: Coins and valuables of the 7th centure AD. Athens: Hellenic Ministry of Culture, 2008.

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Book chapters on the topic "Jewelry, Byzantine"

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Walker, Alicia. "Myth and Magic in Early Byzantine Marriage Jewelry." In The Material Culture of Sex, Procreation, and Marriage in Premodern Europe, 59–78. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08503-0_4.

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Lester, Ayala. "Byzantine Influence in the Consolidation of Fatimid Jewelry." In Proceedings of the 9th International Congress on the Archaeology of the Ancient Near East, 397–412. Harrassowitz, O, 2016. http://dx.doi.org/10.2307/j.ctvc7713g.33.

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Foster, Karen Polinger. "Knowing the Unknown." In Strange and Wonderful, 49–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190672539.003.0004.

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This chapter looks at the various existence of exotica in the Classical, Byzantine, and Islamic periods. Through Egyptian intermediaries, monkeys from elsewhere in Africa reached Minoan Crete and the Cyclades during the first half of the second millennium B.C.E. Dozens of them appear thereafter in wall paintings, seals, and jewelry, engaging in animal and human activities in formal and informal settings. From the seventh century on, gradually expanding colonial and commercial contacts—especially in the eastern Mediterranean—brought exotic experiences back to the Greeks. This gave rise to Greek writing on natural history. Meanwhile, the rise of imperial Rome meant that exotic fauna found themselves inextricably linked with the self-image of the state; any exceptional creatures were reserved as gifts for the emperors. Menageries also existed throughout the Arab/Islamic world from an early date.
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Siecienski, A. Edward. "3. Constantinople and Moscow." In Orthodox Christianity: A Very Short Introduction, 26–32. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190883270.003.0003.

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‘Constantinople and Moscow’ considers the Byzantines’ relationship with Rome during the thirteenth century and the continuing argument over the filioque and other Latin heresies. During the next century, it was an internal debate that rocked the Eastern church, as a dispute arose about whether one could in prayer have an experience of God as light. In 1453, Constantinople, the jewel of the Byzantine Empire, finally fell to the Ottomans and Orthodox Christians came under Islamic rule. The impact of the Reformation in Western Europe on Orthodoxy during the sixteenth century and the shift of the Orthodox world east to Moscow are also described.
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"Jewels for an island." In Byzantium and Venice, 296–316. Cambridge University Press, 1989. http://dx.doi.org/10.1017/cbo9780511660917.019.

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Conference papers on the topic "Jewelry, Byzantine"

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Abderrahim Mahindad, Naima. "Les caractéristiques architecturales et constructives de la muraille médievale à la période Hammadite à Bejaia (Algérie)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11381.

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The architectural and constructive characteristics of the medieval wall of Bejaia city during the Hammadite periodBejaia, is a coastal city of Central-East Algerian which has seen succeeding on its lands several civilizations: Byzantine, Roman, Hammadite, Spanish and Ottoman It reached its peak from the beginning of the eleventh century, when the Hammadite ruler, An-Nasir made it the capital. The city maintained this important status until the sixteenth century, when it was considered the jewel of the Maghreb. At that time, the city was fortified with a large surrounding wall, which spanned more than 5000 m. This city wall was flanked with bastions and towers, and rose in tiers from the sea-side to Mount Gouraya. Its layout was perfectly designed and blended with the city’s topography It consisted of three walls: one to the east and another to the west, which were connected by a third wall, which ran along the seaside. Today, two gates are preserved from the city of Bejaia’s rich defensive heritage: Bab El Bahr, which opens onto the sea, and Bab El Fouka, which opens onto the plains, as well as some parts of the walls, dotted around different parts of the city. This heritage is threatened and its preservation, restoration and enhancement require a comprehensive knowledge of the architectural and constructive styles, which characterize it, and of the materials used in its construction. This contribution aims to identify the architectural and constructive features of this defense system, developed by the Hammadites, as well as a characterization of the construction materials used, such mortar, through physical, chemical and petrographic analyses.
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