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GÜNEY, Hilmi, Menekşe SAKARYA, Hamide Tuba KIZILKAYA, and Esra VAROL. "EXAMINATION OF THE NECKLACE AND PENTANDS FOUND IN NİĞDE MUSEUM." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 259–72. http://dx.doi.org/10.46291/zfwt/140214.
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The tradition of using jewelry has always preserved its importance as a means of adornment. The most precious metals and gemstones have been used in the making of jewelry for a long time, and they have been produced by developing special techniques. Gemstone and precious metal processing started in ancient times as well as in every period with the aim of providing faith, fertility, magic, and good luck; In addition to these meanings from time to time, religious rituals also included purposes such as presenting gifts to the gods or the dead, an indicator of social privilege and status, an expression of wealth and of course looking beautiful, according to the beliefs of the period. Our museums, which are active in preserving and preserving the artifacts of Anatolian civilizations today, are also home to jewelery with or without stones from all times, which were removed from our country. With this study, it is planned to determine the metal and stone types of jewelery with or without gemstones brought to the Niğde Museum during archaeological excavations or by confiscation, and to update them in the museum inventory. It is aimed to emphasize the importance of examining other antique period jewelery with or without stones, which are kept and exhibited in museums in our country, in terms of jewelry and gemology. Considering the existence of the remains of ancient civilizations in our country and the state and private history museums that have increased in recent years, the contribution of this study to our cultural tourism will be important. Keywords: Jewellery, Choker, Necklace, Ornament, Nigde Museum
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Henig, Martin, Adriana Calinescu, and Catherine Johns. "Ancient Jewelry and Archaeology." American Journal of Archaeology 101, no. 4 (October 1997): 808. http://dx.doi.org/10.2307/506863.
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Taylor, JV, E. Wright, A. Miller, and R. Stein. "SEM of Ancient Jewelry." Microscopy and Microanalysis 15, S2 (July 2009): 1512–13. http://dx.doi.org/10.1017/s1431927609099000.
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Chorievna, Gulmira Kattaeva. "The Lapis Lazuli Beads In Sapalli Culture And Ancient Near East." American Journal of Social Science and Education Innovations 03, no. 01 (January 31, 2021): 539–51. http://dx.doi.org/10.37547/tajssei/volume03issue01-95.
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Lapis lazuli is one of the most attractive semi-precious stones. Due to its peculiar blue color and its rareness, it has been used since the Neolithic Period for the manufacturing of precious objects and jewels (beads, gems, seals, small decorative artworks, etc.). Scientific analysis of jewelry which was made of the lapis lazuli can help to explore deeper cultural, economic, and political relations between the ancient oases of Central Asia and the Ancient Eastern civilizations. In this article, it is cited scientific pieces of evidence about the earliest and still existing deposits of lapis lazuli sources and the ancient lapis lazuli jewelry. On top of that, it is given scientific information about the types of the lapis lazuli beads which was found from the monuments of Sapalli culture in the part of the Ancient Eastern Civilization such as Sapallitepa, Djarkutan, Mulali, Bustan VI, and also Central Asia.
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SIMPSON, E. "Ancient Gold Jewelry at the Dallas Museum of Art * Ancient Jewelry and Archaeology." Journal of Design History 12, no. 3 (January 1, 1999): 293–97. http://dx.doi.org/10.1093/jdh/12.3.293.
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Rutkowska, Joanna. "Motywy roślinne i zwierzęce w nazwach biżuterii." Język. Religia. Tożsamość. 1, no. 29 (June 5, 2024): 121–30. http://dx.doi.org/10.5604/01.3001.0054.5830.
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Modern jewelry has its origins in ancient times. Among the jewelry motifs used by jewelers and other artists, some of the most popular are elements of fauna and flora, as evidenced by the assortment offered by the companies: Aparat, Kruk and Yes. Due to the very large cross-section and diversity of the analyzed material, it is difficult to make specific calculations regarding individual motifs. Most often, they appear in a series whose name includes the type of jewelry, the material from which the element is made, and the name of the floristic or faunal element, which means that all nominations have at least three components (e.g. silver cat pendant).
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Барбалат, О. В., та О. В. Школьна. "ВІЗАНТІЙСЬКО-КИЄВОРУСЬКІ ЕМАЛЬЄРНІ ТРАДИЦІЇ У ДИЗАЙНІ СУЧАСНИХ ЮВЕЛІРНИХ ВИРОБІВ УКРАЇНИ". Art and Design, № 2 (21 вересня 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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Chernetsov, A. V. "Treasures of Staraya Ryazan’: Two Hundred Years of Research and New Discoveries." Herald of the Russian Academy of Sciences 92, S8 (December 2022): S684—S694. http://dx.doi.org/10.1134/s1019331622140039.
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Abstract This article is dedicated to study of the jewelry craft of Staraya Ryazan’. It has been prepared for the 200th anniversary of the discovery of the first hoard there (1822), which marked the beginning of the study of ancient Russian towns, the most important area in the science of Russian antiquities. The marks of the individual style of a craftsman who served representatives of the princely family (interpretation of the images of animals, birds, anthropomorphic figures, and elements of ornamentation, as well as features of the technique) are considered. Jewelry made by him was found in four hoards (1950, 1966, 1970, and 2005). The hoard of 2013, in addition to jewelry, included raw materials and tools of the jeweler (bronze matrices). The number of the matrices indicates that they were intended for several workshops. Some data show that a large grand ducal jewelry workshop was located near the place of the find.
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Jones, W. LaBier. "GEMME NUMMARIE." Sculpture Review 49, no. 2 (June 2000): 20–23. http://dx.doi.org/10.1002/j.2632-3494.2000.tb00132.x.
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The use of coins as personal adornments began at the end of the first century in ancient Rome when the imperial coinage was mounted as jewels. These were worn in rings, pendants, and brooches, conveying class and cultural distinction. In modern times Bulgari, one of the world's most highly regarded jewelry firms, continues this tradition of using ancient Greek and Roman coins in its designs. Bulgari refers to these as gemme nummarie, or coin gems.
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Choi, Jin. "An Inquiry into the Ancient Jewelry of Ancient Egypt Myth." Journal of the Korea Contents Association 9, no. 7 (July 28, 2009): 171–83. http://dx.doi.org/10.5392/jkca.2009.9.7.171.
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Belko, Tatyana V., Tatyana V. Kozlova, and Svetlana Yu Osipova. "Role of jewelry and accessories in traditional women`s Russian costume of the 16th–17th centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 294–306. http://dx.doi.org/10.37816/2073-9567-2021-59-294-306.
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The paper conducts analysis of decor, accessories and jewelry in the context of traditional Russian costume of the 16th–17th centuries; it consists of an introduction and two parts. In the introduction, the authors note the importance of preserving and structuring information about ancient Russian accessories and costume jewelry for modern creative activity. The paper identifies socio-cultural significance of the ensemble of jewelry and costume in traditional Russian society. It examines the clothing of the South Russian and North Russian women's clothing complex, reflecting the specifics of the regions of Russia-from the Volga region to Siberia. The second part addresses the examples of the use of accessories and jewelry in the structure of traditional folk women's costume, depending on the regions of Russia including the clothes of the Orel, Kursk, Voronezh, Ryazan, Tambov, Tula, and Kaluga provinces belonging to the South Russian complex. The North Russian complexes of women's Russian clothing reflect the specifics of the regions. Headdresses, which are traditionally an integral part of women's folk costume, are represented by kokoshniks, kichki, and crowns. Earrings, rings, and chains are introduced by various schools of master jewelers. The characterization of signs by purpose, materials and method of making jewelry, allowed to clarify the order of classification construction of the scheme of using jewelry in the costume system. The main sections of the paper are illustrated with photos depicting costumes and complementary accessories from various regions of Russia. The authors also display costume ornaments that have long been out of use, but are valuable for research. The paper is of interest to ones studying costume design, accessories, and jewelry. It allowed for concluding about the importance of studying the elements of the costume as artifacts made of natural materials that serve as a precious source of information about the unique Russian decorative and applied art and costume.
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Бравина, Розалия Иннокентьевна, and Зинаида Ивановна Иванова-Унарова. "The Glow of Silver: The Traditional Ornaments of the Yakuts. From the Origins to the Present." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 51–62. http://dx.doi.org/10.26158/tk.2020.21.2.005.
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Ювелирное искусство народа саха исследуется в статье в междисциплинарном аспекте: изучаются истоки его возникновения, этнокультурные связи народов Евразии по материалам археологических памятников Позднего Средневековья, искусствоведческая характеристика украшений (традиции и новаторские черты в современном искусстве якутских ювелиров). В основу работы положен анализ находок из археологических раскопок якутских погребений XIV-XVIII вв., предметов из фондов музеев Республики Саха (Якутия) и Американского музея естественной истории в Нью-Йорке, а также авторских ювелирных изделий современных мастеров. Подробное изучение ансамбля якутских украшений и отдельных его частей содержится в трудах этнографов Ф. М. Зыкова, В. П. Дьяконовой и др. Классификация украшений, описание техники и способов обработки металла, к которым обращались эти авторы, не входят в задачи данной статьи. Металлические украшения древних якутов, найденные в археологических памятниках, рассматриваются нами в сравнительно-историческом аспекте и соотносятся с изделиями древних кочевников Центральной и Передней Азии, Китая и Южной Сибири. Якутское ювелирное искусство приобрело устойчивые формы, орнаментальный декор и национальное своеобразие в XVII-XIX вв. На современном этапе сохраняется многовековая традиция изготовления ансамбля украшений, но параллельно развивается творчество дизайнеров-ювелиров по созданию оригинальных художественных произведений, вырабатывающих неповторимый стиль этномодерна. The article examines the jewelry of the Sakha people from an interdisciplinary perspective. It examines its origins and sources; considers the ethno-cultural relations of the peoples of Eurasia, based on the materials of archaeological monuments from the late Middle Ages; and considers art history (traditions and innovative features in the modern art of Yakut jewelers). The work is based on archaeological excavations of Yakut burials of the 16th through 18th centuries, items from the collections of the museums of the Republic of Sakha (Yakutia), and the American Museum of Natural History in New York, as well as the author’s jewelry created by modern masters. A detailed study of Yakut jewelry and its individual parts is contained in the works of the ethnographers F. M. Zykov, V. P. Diakonova, and others, and the classification of jewelry and descriptions of the techniques and methods of metal processing that these scholars provided are not considered in this article. On the other hand, metal ornaments of ancient Yakuts found in archaeological sites are analyzed in a comparative historical context and correlated with the products of ancient nomads from Central and Western Asia, China and Southern Siberia. Yakut jewelry art acquired stable forms, ornamental design and national distinctiveness in the 17th - 19th centuries. The traditional Yakut way of making an ensemble of jewelry has been preserved, but at the same time, jewelry designers have also been creating original works of art that develop a unique “ethnomodern” style.
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Maïga, Amina Ibrahim, and Abdoulaye Harouna. "Artistic Expressions in Tuareg Jewelry of Niger: Design, Craftsmanship, and Cultural Significance." Art and Society 3, no. 3 (June 2024): 61–69. http://dx.doi.org/10.56397/as.2024.06.07.
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This paper explores the artistic expressions found in Tuareg jewelry of Niger, delving into the intricate design elements, craftsmanship techniques, and the profound cultural significance these pieces hold. By examining the historical context and cultural background, we understand the evolution and enduring heritage of Tuareg jewelry. The study highlights traditional methods of jewelry making and the specific tools and materials used, shedding light on the artisans’ expertise and the symbolic meanings embedded in each piece. The cultural significance of Tuareg jewelry is analyzed through its roles in social identity and status, as well as its symbolic functions. Additionally, the paper addresses modern influences and global perceptions, discussing how contemporary practices intersect with traditional craftsmanship. Case studies provide a comparative analysis of ancient and contemporary jewelry, revealing both continuity and innovation in Tuareg artistic practices. This comprehensive study underscores the resilience of Tuareg cultural heritage in the face of modernization and global market dynamics.
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Tolkachov, Yu I., and O. Yu Zhurukhina. "GLASSWARE FROM THE EXCAVATIONS ON THE TERRITORY OF THE MEDZHYBOZH FORTRESS IN 2015." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 226–29. http://dx.doi.org/10.37445/adiu.2018.04.10.
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Excavations conducted on the territory of the Medzhybozh Fortress in 2015, explored the cultural layer, in which among various archaeological material were found objects of glass. Finds are divided into three categories: vessels, jewelry, and decor elements. Most of them are jewelry: the bracelets and beads. The vessels, beads, and bracelets, according to their morphology and technology, have Ancient Rus’ origin. Some of the bracelets were produced in Byzantium. The fragments of the window glass belong, probably, to the later period.
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Qutayba Abdul Khaleq, Aya, and Nawal Mohsen Ali. "Luxury in jewelry design." Al-Academy, no. 108 (June 14, 2023): 385–96. http://dx.doi.org/10.35560/jcofarts108/385-396.
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The current research dealt with the presence of ornaments and jewelry since ancient times، which express the social، religious or emotional status of the person who adorns them، in addition to being distinguished by a distinct aesthetic and luxury، that is، in a sense closely related to the social and economic status of people، and we note that jewelry is considered a symbol of luxury and luxury، and hence The need to study luxury appeared in the design of ornaments and jewelry because it refers to the adornment elements that are made of metals and precious stones، which actually indicate signs of status or position that distinguish social classes from each other. The problem was identified by the following question: Determine the effectiveness of luxury in the design of jewelry and jewelry? The research included two important topics. We will address them successively. Below are some results and conclusions:1. Luxury is of great importance in the field of distinguished and luxurious creativity of the industrial designer and industrial production institutions in the modern industrial world.2. The emergence of luxury led to the fulfillment of the requests of users with trends and class of the velvet class of the rich، political figures، aristocratic classes and the global bourgeoisie.
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Qutayba Abdul Khaleq, Aya, and Nawal Mohsen Ali. "Luxury in jewelry design." Al-Academy, no. 108 (June 14, 2023): 425–34. http://dx.doi.org/10.35560/jcofarts1132.
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The current research dealt with the presence of ornaments and jewelry since ancient times، which express the social، religious or emotional status of the person who adorns them، in addition to being distinguished by a distinct aesthetic and luxury، that is، in a sense closely related to the social and economic status of people، and we note that jewelry is considered a symbol of luxury and luxury، and hence The need to study luxury appeared in the design of ornaments and jewelry because it refers to the adornment elements that are made of metals and precious stones، which actually indicate signs of status or position that distinguish social classes from each other. The problem was identified by the following question: Determine the effectiveness of luxury in the design of jewelry and jewelry? The research included two important topics. We will address them successively. Below are some results and conclusions:1. Luxury is of great importance in the field of distinguished and luxurious creativity of the industrial designer and industrial production institutions in the modern industrial world.2. The emergence of luxury led to the fulfillment of the requests of users with trends and class of the velvet class of the rich، political figures، aristocratic classes and the global bourgeoisie.
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Qutayba Abdul Khaleq, Aya, and Nawal Mohsen Ali. "Luxury in jewelry design." Al-Academy, no. 108 (June 14, 2023): 409–18. http://dx.doi.org/10.35560/jcofarts108/409-418.
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The current research dealt with the presence of ornaments and jewelry since ancient times، which express the social، religious or emotional status of the person who adorns them، in addition to being distinguished by a distinct aesthetic and luxury، that is، in a sense closely related to the social and economic status of people، and we note that jewelry is considered a symbol of luxury and luxury، and hence The need to study luxury appeared in the design of ornaments and jewelry because it refers to the adornment elements that are made of metals and precious stones، which actually indicate signs of status or position that distinguish social classes from each other. The problem was identified by the following question: Determine the effectiveness of luxury in the design of jewelry and jewelry? The research included two important topics. We will address them successively. Below are some results and conclusions:1. Luxury is of great importance in the field of distinguished and luxurious creativity of the industrial designer and industrial production institutions in the modern industrial world.2. The emergence of luxury led to the fulfillment of the requests of users with trends and class of the velvet class of the rich، political figures، aristocratic classes and the global bourgeoisie.
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Kruglova, Maria G. "The evolution of the jewelry status in the history of culture and its role in intercultural interactions." Neophilology, no. 2 (2022): 401–8. http://dx.doi.org/10.20310/2587-6953-2022-8-2-401-408.
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It is interesting to consider the evolution of jewelry status in the history of culture and its role in intercultural interactions in the correlation of periods of conceptual social transformations. The purpose of the study is to examine the main cultural approaches to the development process, to identify current trends in the study of cultural diffusions in the context of jewelry art. The motives and functions of jewelry are analyzed, the systematization carried out allows us to determine the place of jewelry in intercultural interactions on the example of ancient Asian cultures (Tibet, Mongolia, small peoples of China), which have significant both material and spiritual heritage and show signs of cultural diffusion, permeability. This civilizational community is imbued with a large amount of influences that have their own patterns: directions and rhythms. The traditional jewelry art of this region demonstrates a variety of technologies and materials with their stylistic continuity, common cultural roots. The study considers a question of the origin of jewelry, which most likely arose simultaneously with the appearance of clothing, costume complex, is an integral part of human civilization, and undoubtedly had a huge impact on its evolution. Conclusion: the identification of markers of cultural diffusion through a comprehensive comparative-typological analysis of genres, materials, and artistic style in the traditional jewelry art of Central Asia, including the small peoples of southern China, Mongolia and Tibet in the modern author’s jewelry art of the Stroganov school through the prism of innovations of the shaping of the Russian avant-garde of 1910–1920 just define the main culturological approaches.
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Renard, Stéphane. "La glyptique : du berceau des civilisations à nos jours, un art millénaire en constante évolution." Gemmes 3 (March 20, 2024): 9–21. http://dx.doi.org/10.63000/dv5c4fh4r2.
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The art of stone or gem engraving was invented at the dawn of civilizations. It has played an essential role in the history of art and culture from its start to nowadays, evolving over the centuries to become a means of artistic expression. The earliest forms of glyptic art were observed among ancient Mesopotamia and Egypt, around 4,000 BC. Engraved cylindrical seals and scarabs served both as objects of art and means of personal identification. Glyptic art reached its first peak in Greece and Rome. Talented artisans produced intaglios featuring mythological motifs, portraits, and historical scenes, used as personal seals, jewelry, amulets, and collectibles. Throughout the ages of medieval Europe, the art of glyptics survived mainly through ancient collections and a few scattered monastic workshops. The Renaissance saw a renewed interest in engraved gemstones, with the development of a new form of tourism driven by the bourgeoisie. Glyptic art experienced its second peak in the 18th-19th centuries with the fashion for cameos. Today, glyptic art is gradually making a comeback, not only drawing the interest of collectors of ancient pieces but also coming back to the front of the jewelry scene.
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Asangulova, A., A. Sulaimanova, and N. Tsybov. "Ethnic Features and Types of Traditional Women’s Decorative Jewelry of the Kyrgyz People." Bulletin of Science and Practice, no. 4 (April 15, 2023): 559–73. http://dx.doi.org/10.33619/2414-2948/89/72.
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The research on the features of ancient traditional women’s jewelry contributes to the implementation of the tasks devoted to preserving the cultural heritage of Kyrgyzstan and the study of folk-art objects. Such research will expand the possibilities of studying the dynamics of the evolutionary transformation of the ethnic culture of the Kyrgyz people. The nature, functional significance, and design of traditional jewelry have always been closely linked to the customs and rituals common to the nomadic way of life of the Kyrgyz. The purpose of our research is to analyze and classify the ethnic features of traditional women’s jewelry and forming of a modern view on own history. The method of historical analysis, interviewing, questioning, as well as the method of objective analysis of historical and ethnographic facts were the main methods of the research. At the same time, this sphere remains as less explored, especially the problem of perception and awareness of the functional significance of decorative ornaments is still not worked out. The research is based on the field materials of the authors conducted in various regions of Kyrgyzstan. The work presents the results of research on the features of ancient women’s decorative jewelry, reflecting the identity of the Kyrgyz people and the presence of their own cultural and historical roots. The combination of ornamental elements, colors, and symbolic nature differs in age characteristics and functional purposes. The work presents a classification of traditional women’s jewelry by functional purposes and by age: up to 5-6 years old, from 7 to 12 years old, from 13 to 17 years old, from 18 to 40 years old, from 41 to 60 years old and over 60 years old. The research shows the ethnic-pedagogical role of decorative ornaments in the self-knowledge of a modern woman in the conditions of isolation from interaction with nature. This research contributes to the enrichment of history, increasing the effectiveness of education as an additional tool of psychological impact on the personal features of the younger generation.
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Abdulkhakimovich Mamarajabov, Gayrat. "Traditional Clothes and Jewelry of Surkhandarya Oasis." International Journal of Multicultural and Multireligious Understanding 8, no. 12 (December 4, 2021): 227. http://dx.doi.org/10.18415/ijmmu.v8i12.3273.
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In the oasis of Surkhandarya, local craftsmen sew traditional shoes, make such shoes as takaki, charik, hakkari, mokkas, tashtovan. In the Surkhan oasis, women wore jewelry such as beads, earrings, rings and bracelets, which were worn and sewn on the forehead, hair, ears, neck, arms, legs and chest. In the Surkhandarya oasis, which combines ancient and national costumes of Uzbeks, women's clothes are rich in historical and factual materials. Women's clothing is divided into winter, spring, summer, autumn clothes depending on the seasons; casual, holiday and ceremonial clothing according to the condition in which it is worn; divided into underwear, top, head, shoes, depending on which part of the body is worn.
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Hamidi Musa, Haider, and Ruwaida Faisal Mosa Al Nawab. "The use of metal in ancient Syria in the manufacture of jewelry (ornamental tools in the third and second millennium BC and the molds used in their manufacture)." Al-Academy, no. 110 (December 15, 2023): 51–68. http://dx.doi.org/10.35560/jcofarts1191.
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This research sheds light on the use of metal in the manufacture of jewelry, which is represented by ornamental tools in the period between the third and second millennium BC, in addition to the most important molds used in their manufacture. Man has been interested in metals since early ages, and was able to make tools that he uses in his daily life, especially jewelry. And the Syrian people got acquainted with the types of minerals, their characteristics, and how to deal with them. Minerals played an effective and prominent role in the economy of ancient Syria. Trade with those countries and secure their roads.
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Kawer, Sonya M. "PERHIASAN PADA SUKU KOMBAI, BOVEN DIGOEL (Jewelery of Kombai Tribe, Boven Digoel)." Jurnal Penelitian Arkeologi Papua dan Papua Barat 6, no. 2 (June 3, 2017): 169–77. http://dx.doi.org/10.24832/papua.v6i2.30.
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Tribal jewelry Kombai also know their traditions and culture. This tradition has been introduced by their ancestors in ancient times. This paper to learn about the form and function of accessories or jewelry Kombai Tribe. The method of data collection is done with literature, field surveys, and analysis using Ethnoarchaeology approach. In the form of jewelry is jewelry Kombai tribal head or crown of the head, nose ornaments, decorations arm, necklaces, body decoration, penis sheath for men, skirts for women tassel, and ornate legs. All these accessories are made or derived from the nature around them stay. AbstrakSuku Kombai juga mengenal perhiasan dalam tradisi dan kebudayaan mereka. Tradisi ini sudah diperkenalkan oleh nenek moyang mereka pada zaman dahulu. Tulisan ini untuk mengetahui mengenai bentuk asesoris atau dan fungsi perhiasan Suku Kombai. Metode pengumpulan data dilakukan dengan studi pustaka, survei lapangan, dan analisis menggunakan pendekatan etnoarkeologi. Bentuk perhiasan pada suku Kombai yaitu perhiasan kepala atau mahkota kepala, hiasan hidung, hiasan lengan tangan, kalung, hiasan badan, koteka untuk laki-laki, rok rumbai-rumbai untuk perempuan, dan hiasan kaki. Semua asesoris ini terbuat atau berasal dari alam sekitar mereka tinggal.
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
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The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
 Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
 Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized. 
 Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
 Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Fayzulla, Ochildiev. "The Craftsmanship Of The Emirate Of Bukhara At The Second Half Of The XIX Century - The Beginning Of The XX Century." American Journal of Interdisciplinary Innovations and Research 02, no. 11 (November 14, 2020): 33–38. http://dx.doi.org/10.37547/tajiir/volume02issue11-07.
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This article describes the development of handicrafts in the second half of the XIX century and the beginning of the XX century in the Emirate of Bukhara. In the Emirate of Bukhara from ancient times developed weaving, embroidery, tanning, carpet weaving, pottery, blacksmithing, coppersmithing, carving, jewelry, painting and other crafts.
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Prokopovich, L. V. "Sacred scarab in jewelry of ancient Egypt: the symbol interpretation problem." Odes’kyi Politechnichnyi Universytet. Pratsi, no. 1 (March 31, 2015): 202–9. http://dx.doi.org/10.15276/opu.1.45.2015.33.
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Agalarzade, Anar, and Samir Karimov. "The golden winged bull (griffins) images in ancient religions." Археология Казахстана, no. 4 (22) (December 29, 2023): 101–11. http://dx.doi.org/10.52967/akz2023.4.22.101.111.
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The article analyzes images of fantastic animals accidentally discovered on the territory of the Lerik district in southeastern Azerbaijan. These noteworthy discoveries are currently stored in the valuables collection of the National Museum of History of Azerbaijan. These objects testify to the high development of art in ancient times. Considering the resemblance of these images to those in West Asian regions, it is evident that Azerbaijan's ancient metalworking and jewelry art had extensive connections. This can be linked to religious beliefs, cultural-ethnic ties, and longstanding trade relations. Nevertheless, in the South Caucasus, particularly in Azerbaijan, the origins of these bull images are more ancient, primarily represented by clay and bronze figurines. This underscores the continuity of traditions in ancient art, with these finds likely dating back to the Mannean period (9th–8th centuries BC).
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RUVALCABA-SIL, J. L., G. DEMORTIER, and A. OLIVER. "EXTERNAL BEAM PIXE ANALYSIS OF GOLD PRE-HISPANIC MEXICAN JEWELRY." International Journal of PIXE 05, no. 04 (January 1995): 273–88. http://dx.doi.org/10.1142/s0129083595000319.
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Pre-Hispanie funerary gold jewelry artefacts (900–1325 A.D.) from Mexico (Oaxaca) were studied by PIXE. A 2,7 MeV proton beam was used in an external beam set-up to determine the elemental composition in various regions of each item. Some of the flattest regions were analyzed at normal and grazing beam incidence to determine whether elemental compositions are different in the bulk by comparison with the surface. The results provide relevant information about the metallurgical techniques, like alloy casting, gilding and soldering processes used by ancient mesoamerican goldsmiths.
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Valério, Pedro, Rui J. C. Silva, António M. M. Soares, M. Fátima Araújo, Lídia Baptista, and Ever Calvo. "Microanalytical Study of Ancient Gold Jewelry: Mediterranean Impact on the Early Iron Age Technology in Southwestern Iberia." Microscopy and Microanalysis 25, no. 4 (June 18, 2019): 1061–73. http://dx.doi.org/10.1017/s1431927619014582.
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AbstractThe gold technology in Iberia underwent an important development during the Early Iron Age (EIA) following the arrival of new technological skills from the Mediterranean region, including the use of filigree, granulation, and brazing. This work presents the microanalytical study of EIA gold jewels (22 spherical beads and four tongue pendants) recovered from three graves in southern Portugal. The set of jewelry, showing an extraordinary stylistic resemblance, was characterized by optical microscopy, micro energy-dispersive X-ray spectrometry and scanning electron microscopy with X-ray microanalysis to establish the alloy composition and production techniques. The pieces show a close technological relation, making use of artificial gold alloys with different amounts of silver (c. 40 and 25%). The decorative styles include different types of filigree (solid wires and hollow wires), while the joining techniques comprise brazing with Au-Ag-Cu solders and, probably, sintering. In spite of those technological and stylistic features, clearly pointing to a Mediterranean influence, the absence of granulation suggests an indigenous workshop where exogenous technologies/decorations were not yet fully integrated in the manufacture of such luxury items.
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Ильгар гызы Алиева, Гюлана. "Ancient city type settlements of Lowland Karabakh." SCIENTIFIC WORK 71, no. 10 (October 23, 2021): 36–39. http://dx.doi.org/10.36719/2663-4619/71/35-39.
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The archaeological research indicated a large number and significant density of settlements of different times on the territory of Azerbaijan, which is mainly due to the fact that there were all the necessary conditions for the emergence of settlements. The decisive condition for their emergence has always been the presence of certain material prerequisites for life, as well as the possibility of defending a given area. The analysis of archaeological materials draws a picture of life in the cities of Albania in the period of antiquity. These cities were administrative and trade and craft centers with developed money circulation. In the cities of Albania, such types of handicrafts as pottery, metallurgy and metalworking, jewelry, glass making, as well as weaving and leatherworking were developed. In their development, a significant role played the trade routes of that time passing through the territory of Albania, one of which was the waterway along the Kura River. Keywords: Albania, Karabakh, cities, base of column, defensive walls
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Di Martino, Daniela, Enrico Perelli Cippo, Antonella Scherillo, Zsolt Kasztovszky, Ildikó Harsányi, Imre Kovács, Zoltán Szőkefalvi-Nagy, Roberta Cattaneo, and Giuseppe Gorini. "An Archaeometallurgical Investigation on Metal Samples from the Chiaravalle Cross." Heritage 2, no. 1 (March 9, 2019): 836–47. http://dx.doi.org/10.3390/heritage2010055.
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The production and manufacturing techniques of metals involve expertise, and the study of ancient artifacts relies on interdisciplinary skills. Metalworking processes used in the production of jewelry masterpieces can, for example, give indications on the provenance of an ancient object of an unknown origin and the techniques used. In this regard, metallic samples from the Chiaravalle Cross (a beautiful processional cross with a complex structure, dating to the 13th century) have been studied, combining bulk and point measurements. Neutron-based experiments (like Prompt Gamma Activation Analysis and neutron diffraction) provide the bulk of the elemental and mineralogical composition, while particle induced X-ray emission analyses evidenced important details on its manufacturing techniques.
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Chiriu, Daniele, Francesca Assunta Pisu, Pier Carlo Ricci, and Carlo Maria Carbonaro. "Application of Raman Spectroscopy to Ancient Materials: Models and Results from Archaeometric Analyses." Materials 13, no. 11 (May 28, 2020): 2456. http://dx.doi.org/10.3390/ma13112456.
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Numerous experimental techniques of analysis find applications in many branches of the archaeometry. Among them, Raman spectroscopy carved out a niche in the field of diagnostic and conservation of cultural heritage. The exceptional ability to predict and discover the structural properties of materials set for Raman spectroscopy, an exclusive role among the analytic techniques, is further boosted when it is coupled with mathematical or statistical models able to deepen the studied phenomena. In this work, we present a review of recent studies where pairing Raman spectroscopy and mathematical models allowed achieving important results in the case of potteries, porcelains, ancient and modern paper, ancient jewelry, and pigment degradation. The potentialities of this approach are evidenced and analyzed in detail.
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Bower, Bruce. "Humans: Early iron beads came from space: Ancient Egyptians worked meteorites into jewelry." Science News 184, no. 7 (September 24, 2013): 11. http://dx.doi.org/10.1002/scin.5591840709.
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Silaiev, Oleksandr. "Decorative application with lion’s image from the excavations near village Mizhgirya (Volyn region)." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 24 (December 23, 2020): 387–95. http://dx.doi.org/10.33402/mdapv.2020-24-387-395.
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The article is explaining a unique bronze application, which was discovered during the excavation season 2017 on Mizhgirya-3 site – two-layered settlement of Early Iron Age and Age of Principalities. This item was uncovered amid the upper earth sediments, largely destroyed by plowing, thus making it impossible to determine the exact chronological interpretation. Based on the analysis of creative stylistics and technological features of this piece of craftsmanship, an excessive pursuit was commenced for the parallels in the imageries and designs of decorative ornaments, particularly inherent to Ancient Rus culture. It includes various examples of zoomorphic motifs, lion’s pictures as well, in the church architectural décor and on similar samples of ornamented jewelry. The closest stylistic equivalence to the application’s image from Mizhgirya-3 site was found among decorative ceramic tiles collected during the excavations of ancient Halych hill-fort, some of them holding the image of a lion or a lioness. Particular attention was turned towards the searches of analogies among jewelry, applying specific techniques of openwork metal casting, like some items from the excavations of the Ancient Rus’ major cities of Halych and Novgorod, found inside cultural sediments from the 12th – to the 15th centuries. Comparative analysis of various objects, either depicting similar visual motifs or applying the distinctive metal casting technique, made it possible to verify the application’s origin at the later stages Age of Principalities cultural evolution, especially the one determined by the advance of Galicia and Volhynia state. Henceforth, the discovery of the items became more relevant with the upper chronological layer of Mizhgirya-3 site, which was dated by the 12th – 13th centuries after the evaluation of supplemented materials. Key words: bronze decorative application, openwork metal casting, Age of Principalities, zoomorphic motif, «lion passant».
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Рахматуллина, Зугура, та Гульнур Хусаинова. "Традиционные украшения башкирских женщин: этнокультурный взгляд из XXI века". Уфимский археологический вестник 23, № 2 (2023): 320–30. http://dx.doi.org/10.31833/uav/2023.23.2.010.
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A number of researchers of studies on Bashkirs consider women’s national embellishments. Nonetheless, the analysis of the existing literature and specialized sources reveals insufficiency of the researches and publications. They hardly review the role of the traditional women’s jewelry in human life during the era of globalization and unification in many aspects, including the aesthetics. The age of constantly changing contemporary fashion makes ethnic ornaments a striking and authentic component of a female image. These ornaments gain the new stylish life, but maintain their original cultural essence, artistic canon and features, philosophy and ideology originating from the deep archetypes of the national consciousness. Upgraded jewelry are popular with younger and older people. Today they embellish special-occasion, every-day and business outfits. Absolutely, sources and reasons for such an artistic and aesthetic phenomenon in the today’s reality require overview through historical retrospective considering the nation’s social and cultural biography and folklore. The overview of the available research data on the topic form a theoretical foundation for further and more thorough studying. This article relies on folklore and ethnographic materials related to female clothes and jewelry. The materials are formed with the authors’ published and unpublished field notes. The article touches on the rich history of Bashkir women’s embellishments from the ancient time till present days, discloses their ideology, spiritual meanings, artistic features, social and aesthetic functions. The analytical approach is used for this research. It determines that national jewelry is mentioned in the folklore, in Bashkir fairytales, songs and epic poems in particular. Some ornament items discovered in the folklore materials are found nowadays. They give a modern woman’s outfit an ethnic feature, if she aspires for preserving her authentic identity in the global unification fashion.
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Scrivano, S., B. Gómez-Tubío, I. Ortega-Feliu, F. J. Ager, A. I. Moreno-Suárez, M. A. Respaldiza, M. L. de la Bandera, and A. Marmolejo. "Identification of soldering and welding processes in ancient gold jewelry by micro-XRF spectroscopy." X-Ray Spectrometry 42, no. 4 (April 24, 2013): 251–55. http://dx.doi.org/10.1002/xrs.2482.
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Shkolna, Olga, and Ostap Kovalchuk. "Balamuts as Traditional Ukrainian Jewelry of the 19th – Early 21st Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 353–65. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292162.
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The purpose of the research is to determine the sources of inspiration and artistic features of balamuts in Ukrainian folk costumes of the 19th – early 21st centuries. Research methods are ontological, hermeneutic, axiological, historical-genetic, historical-chronological, comparative, socio-cultural, iconographic, and art analysis. The research toolkit is designed to help understand the sources of inspiration and artistic features of balamuts in Ukrainian folk costumes. The scientific novelty is based on the introduction into scientific circulation of the essence of the concept of “balamut” in Ukrainian jewelry of the 19th – early 21st centuries, in particular, wedding jewelry. Conclusions. Since ancient times, it has been customary to wear pearls in the territory of modern Ukraine, and following the Hellenic-Scythian and Byzantine fashion, it was first among men. Pearls were part of the initiation jewelry of representatives of the elites of Sassanid Iran from the time of Shapur I, who ruled in the 3rd century. AD, and Shapur II (ruled in the 4th century), and gradually became part of the culture of the Greek colonies of the Crimea and the Black Sea. Pearls from the time of antiquity were a sign of initiation stems (at first, ribbons decorated with round and teardrop-shaped pearls, and later on hoops – crown-like diadems). After the first centuries after the birth of Christ, these accessories, which replaced the laurel wreaths of pagan times, became part of the complete image of the Roman emperor. Thus, as early as the 4th century, the son of Constantine the Great, Emperor Constantius II (337–361), wore a diadem with a pearl base, modeled after the Sassanid coronation ornaments. Justinian the Great, an Illyrian by origin, in 548 was depicted wearing a crown with prependulis and a fibula with pearls, later pearls firmly became part of the coronation accessories of the following dynasties of Byzantine rulers, who had both eastern (primarily Persian and Armenian) and western (Balkan) roots. Taking into account that in several centuries the heiresses of Byzantine emperors began to marry Kievan Russian princes, this tradition of using pearls gradually became part of local customs. So, already in the 10th century Svyatoslav, the son of Igor and Olga, wore a colt with pearls and a red garnet in his ear. Later pearls, including fossilized, fossil, made from a thick layer of mother-of-pearl of ancient shells (balamuts) from the 19th century gradually became part of Ukrainian wedding outfits.
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Kormysheva, E. E. "Features of the Hellenistic culture of ancient Sudan." Orientalistica 5, no. 2 (June 29, 2022): 224–42. http://dx.doi.org/10.31696/2618-7043-2022-5-2-224-242.
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The article examines the main features and specificity of the formation of the Hellenistic culture in ancient Sudan. To assess the nature of the Hellenistic influence on the culture of Meroe, the author analyzes the characteristic features of the region's architecture, reliefs of temple complexes, painting and decoration of walls, items of minor art, jewelry, which had been obtained during archaeological excavations. The author explores the ways of penetration of Greek culture directly and through Egypt, as a result of which the Hellenistic culture of Meroe becomes the result of the syncretisation of Hellenistic Egypt and local forms. The borrowing had a specific nature, most of the Hellenistic elements were re-interpreted, transplanted into the Meroe and adapted to the local culture. The processes of transformation of images created through the syncretization of Egyptian Hellenistic images with local culture gave rise to a special form of Sudanese Hellenism, in which the Meroitic reading is traced in the concept, form and style. Such processes of combining local features with images that came from Egypt were typical for the entire history of contacts between these two Nile civilizations, the nature of the interaction as a whole was subjected to uniform laws, giving rise to a unique form of Hellenism in Meroe.
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Anokhina, Evgeniia. "Two Clay Female Figurines in the Pushkin State Museum of Fine Arts, Moscow." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 245. http://dx.doi.org/10.31857/s086919080017602-9.
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The paper continues a series of publications of female nude figurines from the Ancient Egyptian collection of the Pushkin State Museum of Fine Arts. It deals with two unusual handmade clay figurines of the late Middle Kingdom and the early New Kingdom (I, 1a 5889, I, 1a 7076) which are examined in the context of other figurines of this type. Their iconography is characterized by a disproportionate head with discoid headdress, broad shoulders, small breasts, arms stretched along body, slim waist, broad hips, marked enlarged pubic triangle, navel, dimples above the buttocks, prominent rounded buttocks, long legs, poorly developed hand and feet. The face has generalized features: large carelessly drawn eyes without pupils, a protruding beak-shaped nose, pierced ears. Special attention is paid to hairstyles and jewelry. The headdress consists of a a convex disk pierced with three to six holes which likely held linen threads imitating hair with clay, mud, faience beads, shells. As for the jewelry, the figurines usually depicted: a ribbon/fillet on the forehead surrounding a convex disk, incised girdles, incised bracelets on the hands, incised body chains, one-, two-and less often three-partite modelled necklaces with or without patterns, incised necklaces of one or more rows of dots, rarely earrings in the ears. The article considers the issues of the figurines origin and the influence of Nubian and Middle Eastern cultures on their emergence. The authors conclude that despite the possible impact of other cultures the clay figurines in question were centrally produced in the Nile Valley and were close in their iconography and meaning to other female images of Ancient Egypt.
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Colomban, Philippe. "Polymerization degree and Raman identification of ancient glasses used for jewelry, ceramic enamels and mosaics." Journal of Non-Crystalline Solids 323, no. 1-3 (August 2003): 180–87. http://dx.doi.org/10.1016/s0022-3093(03)00303-x.
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Foster, Karen Polinger. "Opium Art and Truffle Texts in the Aegean and Ancient Near East." Studies in Ancient Art and Civilisation 27 (December 22, 2023): 77–111. http://dx.doi.org/10.12797/saac.27.2023.27.04.
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From the third millennium BC on, the opium poppy was exploited by the civilizations of the Aegean and Near East. While the terms for it in the ancient languages of the region are still unknown, the distinctive features of the harvest-ready seed pod would seem to find reflection in numerous works of Minoan, Mycenaean, Mesopotamian, and related art. This paper proposes that the corpus of opium imagery is far more extensive than previously recognized, including pins, finials, jewelry, seals, vessels, and weapons. It would also seem that certain elite women played vital roles in ancient opium matters. As for the desert truffle, it thrives in the area’s arid and semi-arid ecosystems, where the opium poppy cannot. We have no truffle art, so far as can be determined, but its suggestive presence in cuneiform documents, among them the seven Mari letters collected here, may signal that it was prized for its ability to engender altered states of consciousness, in addition to its nutritional and pharmaceutical benefits.
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Serikov, Yu B. "NEOLITHIC BONE PRODUCTS OF THE MIDDLE URALS: SOURCES, TYPES, MANUFACTURING TECHNIQUES." Izvestiya of Samara Scientific Center of the Russian Academy of Sciences. History Sciences 5, no. 3 (2023): 144–59. http://dx.doi.org/10.37313/2658-4816-2023-5-3-144-159.
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The main sources of Neolithic bone products are cave and peat sites. All Neolithic bone products can be divided into 4 groups: weapons (456 copies), domestic and household items (22 copies), works of art (2 copies) and jewelry (112 copies).The technique of making bone products in the early Neolithic is practically no different from the Mesolithic. The ancient craftsmen used techniques such as padding, scraping, planing, cutting and shearing with stone chopping tools, sawing, grinding, polishing, as well as cutting grooves. The widespread use of chemical softening of bone and the use of turning to produce biconical arrowheads can be considered a revolutionary innovation of the Neolithic era.
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Grimaldi, David, and Rob Desalle. "The Scientific Romance with Amber." Paleontological Society Special Publications 7 (1994): 295–308. http://dx.doi.org/10.1017/s2475262200009606.
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For at least 10 millenia, a special mystique has surrounded amber. This is probably due to the warmth of its color and touch, its lightness, and the small organisms that are sometimes found in it. Some of the oldest Mesolithic artifacts are amber carvings from Europe, and a rich folklore about origins of amber existed among the ancient Greeks, Assyrians, and Romans. The true origins of amber, as a fossilized resin that bled from trees, was first recognized by the Roman natural historian, Pliny the Elder. By the Renaissance Period, amber was used for elaborate figurines, carved bowls, jewelry, pipes, even caskets. The color of amber, especially in Mediterranean cultures, represented luxury.
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Kazakov, Aleksandr, and Olga Kazakova. "Huns in the East: The Polychrome Style." Ancient Civilizations from Scythia to Siberia 28, no. 2 (February 6, 2023): 358–67. http://dx.doi.org/10.1163/15700577-20221412.
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Abstract The Great Migration period is closely connected with the culture of ancient multi- ethnic society known as the Huns. Although the Hunnic archaeology is well developed, there are still many issues to be solved. One of them is where was the eastern border of the Hunnic culture marking the areas of their influence. The article tries to answer the question and presents materials, which at present are the most eastern finds of polychrome style objects that became markers for the Huns’ burials. They were found on the Eras’ka River burial in the Kalmanskii District of the Altai Territory, Russia. The authors consider technological methods used by craftsmen in the Great Migration period for making polychrome style jewelry.
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BABYCH, Antonina, Tymofii LYPSKY, and Anna RADIKOVA. "MODERN METHODS AND ANCIENT TECHNOLOGIES OF RESTORATION AND RESTORATION OF SHOES." Herald of Khmelnytskyi National University. Technical sciences 311, no. 4 (August 2022): 204–8. http://dx.doi.org/10.31891/2307-5732-2022-311-4-204-208.
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Restoration and restoration of shoes – a delicate, complex, often jewelry. It requires professionalism, experience, creative and creative approach and innate artistic taste of the master. In addition, restoration work often requires special equipment and materials for a number of rare and complex operations to completely restore the product and give it its original appearance or, conversely, “aging” of new shoes at the request of the customer. Shoe restoration allows a specialist to create using standard and non-standard materials, classic and advanced methods and techniques for replacing worn parts in the product, and also allows you to experiment with finishing compositions to give the product the appearance of “wear” and “abrasion”, creating a “faded” “Color of the material and its” aged “structure, the effect of attrition or patina, metallic luster or vice versa giving the product a look of” rejuvenation “by updating the color, giving it strength, shine, overall finish and strengthening the structure of the material as a whole. Thanks to such methods of restoration it is possible to achieve not just the desired, but also almost unique result of work. The features of the stages of shoe restoration are investigated in the article. Technological stages of restoration of footwear and step-by-step technology of finishing of finished products have been developed. A full cycle of restoration works was carried out on samples of men’s shoes worn. Tested according to the requirements of the standards and experimentally proven high wear resistance of the surface of the materials of the restored shoes, namely: the ability of the material to repeated bending, stretching, wet and dry friction. Experimental wearing of restored shoe samples was carried out. The high operational characteristics of the studied products have been confirmed. The expediency of these works has been proved experimentally.
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Pavlova, Anzhelika N. "A costume in the funeral rituals of the Mari people." Finno-Ugric World 12, no. 4 (December 25, 2020): 423–29. http://dx.doi.org/10.15507/2076-2577.012.2020.04.423-429.
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Introduction. Burial rites, which are a traditional object of research in archeology and ethnography, are one of most stable elements of ethnic culture. The costume and its individual elements took an important place in the funeral and memorial rites. The study of these rituals can reveal new aspects of the spiritual culture of the Mari people. Materials and Methods. The work is based on the comparison of archaeological and ethnographic materials, culturogical approach, methods of semantic, cultural and anthropological research. Results and Discussion. The reference of funeral and memorial rites to the passage rites determined the use of the elements of a wedding dress, including fur clothes and jewelry. The belt that served as a storage was an important part of the burial costume, as well as the sacrificial and ritual complexes of the ancient Mari tribes. Conclusion. Application of a culturological approach to the research of the funeral rituals of the Mari people allowed to conclude that the costume substituted the deceased, served as the embodiment of a generic body that went back to the totem. The funeral costume, like the wedding one, assumed the use of ancient symbolic codes. The belt that completed the symbolic human body was an important burial costume. The belt served as a defense in the ancient Mari sacrificial ritual complexes, enhancing their association with the world tree.
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Belyakov, Andrey. "Gifts to the Pokrovsky Monastery in Suzdal (In the Footsteps of a Ring of Maria Temryukovna)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (April 2023): 125–35. http://dx.doi.org/10.15688/jvolsu4.2023.2.11.
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Introduction. It is not always possible to trace the fate of certain museum exhibits from documents. Methods and materials. This work examines the history of movement in various collections of a gold ring with the seal of the second wife of Tsar Ivan IV, Maria Temryukovna. Analysis. After the tsarina’s death, it was deposited in the Pokrovsky Suzdal monastery for the memorial of her soul. For two centuries this monastery served as a place where former tsarist wives and representatives of the highest Moscow aristocracy were tonsured. Over time, it concentrated a significant collection of women’s jewelry, which came here in the form of gifts. Therefore, when in Russia in the 19th century museums devoted to national history and culture began to actively develop, interest in this collection appeared. In 1845, the ring, along with other items, was purchased with the personal money of Emperor Nicholas I for the Armory. However, it soon found itself in the State Ancient Storage, where the most important ancient documents on the history of Russia were concentrated, as well as a collection of state and personal seals. Subsequently, the ring, as part of the collection of the Ancient Storage, ended up in the Rumyantsev Museum. Ultimately, it ended up in the State Historical Museum. It is now in the State Historical Museum. However, their whereabouts are currently unknown. Results. The work analyzes all discovered references to these items. In the future, perhaps, this will help to identify them among the anonymous monuments from museum collections. Key words: Maria Temryukovna, Ivan IV, royal gifts, Pokrovsky Suzdal Monastery, State Ancient Storage.
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Arieni, Fildzah Nadya, Dhea Halimah, and Ira Audita. "Implementasi Metode Fuzzy Sugeno Pada Penentuan Harga Emas 24 Karat pada Kota Medan." Brahmana : Jurnal Penerapan Kecerdasan Buatan 1, no. 2 (June 30, 2020): 116–20. http://dx.doi.org/10.30645/brahmana.v1i2.27.
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Gold is one of the most precious precious metals by the public because gold prices tend to be stable and increase every month, gold investment has also developed quite rapidly. Gold can be invested in various forms such as gold bars and gold in the form of jewelry that has value to add to the wearer's appearance besides that there is also gold in the form of ancient currency coins that have historical value and are usually kept by collectors, gold is one form of investment that is not influenced by trends in society because gold is bought by everyone at any time. The purpose of this study was to determine the determination of the price of 24 carat gold in medan city. In this study, the authors used 3 criteria including demand, quality and price.
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Prokopenko, Yury. "Status Items from the Crypt “Kamennaya Mogila” (Stone Grave) of the 3rd – 2nd Centuries BC (Southern Outskirts of Zheleznovodsk)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 3 (June 2022): 56–73. http://dx.doi.org/10.15688/jvolsu4.2022.3.4.
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Introduction. The article is devoted to the analysis of objects discovered during the excavation of the “Kamennaya mogila” (Stone Grave) kurgan on Medovaya mountain (southern outskirts of Zheleznovodsk). Methods and materials. The comparative typological method was used as a worker. It is based on classification by material, processing method, shape, ornamentation, as well as on the study of types of gold jewelry, glass and black-glazed dishes, bronze horse plate foreheads and cheek pads, etc. Analysis. The typological and chronological analysis was carried out on gold jewelry (plaques, rings, pendants), antique ceramic and glassware, items of horse dress and weapons. Analogies to imported items from the crypt, found in the monuments of ancient culture and in the burials of the barbarian nobility, allow them to be dated to the 4th – 2nd centuries BC. Items of equestrian dress and weapons date back to the 3rd – 2nd centuries BC. Results. The author, regarding the social structure of the local population, ranked the monument as stratum No. 2 (nobility of the first level). A complex burial structure of the tomb with a significant number of ritual offerings is recorded. Burial items have numerous analogies in the status burials of the Bosporan, Meotian and Scythian nobility of the Northern Black Sea region and the North Caucasus of the 4 th – 2nd centuries BC. The sophisticated frame structure of the horse harness made of iron parts from the crypt of the Stone Grave is unique. Only a member of the nobility with a very high status could afford such a special bridle as a ritual offering.
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S., KIREEV. "V.D. KUBAREV IN THE ARCHAEOLOGICAL COLLECTION OF ANOKHIN NATIONAL MUSEUM OF THE ALTAI REPUBLIC." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 371–77. http://dx.doi.org/10.14258/2411-1503.2021.27.56.
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In 2021, we celebrate the 75th anniversary of the birth of Doctor of Historical Sciences, employee of the Institute of Archaeology and Ethnography, V.D. Kubarev. The article notes a great contribution of the scientist to the study of the archaeological cultures of Altai and Mongolia, the discovery of more than a thousand new sites of antiquity. Anokhin National Museum of the Altai Republic has a large collection of materials consisting of 747 units of almost all historical periods, transferred to scientists in different years. Among them are several deer stones and ancient Turkic statues, materials from the Bike-I, Ulandryk-I, Jolin-III, Talduair-I, III, Kuyakhtanar, Burata burial grounds. The collections feature weapons and household items, jewelry and clothing items, horse equipment. Many exhibits from the collection of V.D. Kubarevs occupy a worthy place in the exhibition halls of the museum of the Scythian-Saka, Xiongnu--Sarmatian and ancient Turkic times of Altai, were demonstrated at thematic exhibitions. The library of the museum constantly received all the scientific publications of the scientist as a gift. A number of museum employees constantly participated in the scientist’s expeditions and became professional archaeologists. Keywords: Gorny Altai, archaeology, V.D. Kubarev, Anokhin National Museum of the Altai Republic, museum collections