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Jia, Ma. "Representations of Jewelry as a Source of Metaphorization in the Modern Russian Linguistic Picture of the World." Vestnik NSU. Series: History and Philology 23, no. 9 (November 9, 2024): 44–52. http://dx.doi.org/10.25205/1818-7919-2024-23-9-44-52.
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Purpose. The article describes the linguocultural specifics of metaphorization of general representations of jewelry in the Russian linguistic picture of the world. The relevance of the topic is related to the use of lexemes with the root jewel- in various contexts based on metaphorization and figurative representation of heterogeneous phenomena. The purpose of the research is to determine main directions of metaphorization in the semantic field «Jewelry» based on lexicographic data and contexts from the «National Corpus of the Russian Language». The sample consists of 144 examples with metaphorical meaning of the lexemes jeweler, jeweled and jewelry selected from the National Corpus of the Russian Language.Results. Contextual analysis and analysis of conceptual metaphor identified 6 main slots representing the basis for metaphorization.Conclusion. The metaphorization with the source jewel- in the Russian linguistic picture of the world describes not only qualities of a jeweler, but also the process and the result of jewelry work. The signs associated with the process and the results of jewelry work are the basis for metaphorization in most cases. Metaphorical contexts of «General representations of jewelry» predominantly reflect a positive evaluation, even while describing a criminal act, the emphasis is on accuracy and invisibility taken as positive aspects of this activity.
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Auble, Cassandra. "Royal Jewelry Exchange in Sixteenth Century Anglo-Scottish Politics." Explorations in Renaissance Culture 46, no. 1 (June 24, 2020): 70–82. http://dx.doi.org/10.1163/23526963-04601002.
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This paper explores how Mary, Queen of Scots and Elizabeth i utilized jewelry in political settings to construct meaning, represent themselves, and negotiate personal and political relationships. Studying the complexities of jewelry’s exchange and circulation between the courts of England and Scotland provides a more nuanced picture of early modern diplomacy and material culture. Jewelry provided a valuable resource from which rulers and diplomats regularly drew when framing their political discourse. Jewels used in diplomacy were as politically meaningful as the gestures and rituals of formal diplomatic audiences and domestic ceremonies. As an object of exchange with a variety of functions, jewelry was absorbent of meaning and memories. Thus, jewelry could forge bonds between those who exchanged it, and also bring about hostilities and complications.
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Luts, Sergii. "Jewelery Art of Ukraine at the Turn of the XX–XXI ct.: Genesis of Progress." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 1 (June 26, 2019): 93–111. https://doi.org/10.31866/2617-7951.2.1.2019.170361.
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The aim of the research is to analyze the genesis of the main factors of evolutionary;transformations in the jewelry of Ukraine at the end of the XX – the beginning of the XXI ct.;Research methodology. A number of scientific methods have been applied: comparativehistorical,;analytical-descriptive, figurativestylistic, as well as methods of analogies and;assumptions. Scientific novelty. In this study an attempt to show a generalized picture of;the progress of Ukrainian jewelry on the turn of the XX–XXI ct. has been made. Conclusions. It;has been proved that consolidation of domestic;experimental aspects in the technological; field, active introduction of progressive design;ideas and work experience accumulated over;many years by the previous generation of; masters specializing in jewelry art into the;creative process has led Ukrainian jewelers to a qualitatively new stage of development. The optimal balance of traditional methods and innovative experimental factors of the technological and creative process in general has formed the general concept of the development of the recent Ukrainian jewelery, and promotes the birth of new creative forms of the realization of the potential of Ukrainian jewelery artists at the end of the XX – the beginning of the XXI ct. All these aspects help modern Ukrainian jewelery artists to adjust effectively to new principles of work and transformation on the European jewelry art market,where the philosophy of the concept of design, methods of synthesis of artistic and figurative forming as well as structural and technological forming are the main factors of the progress of the recent jewelry art in Ukraine in general.
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Dadamukhamedov, Bobur. "DEVELOPMENT PROCESSES OF INNOVATIVE JEWELRY ART IN UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 04, no. 02 (February 1, 2023): 1–6. http://dx.doi.org/10.37547/history-crjh-04-02-01.
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The article analyzes the innovative style and jewelry based on it, created in 2000-2022 on the basis of such trends as modern, non-traditional, modern, avant-garde in the work of young jewelers and their creations. It was analyzed that the creativity of representatives of the older generation and many other young talented jewelers in the innovative direction continue to strive to create innovative jewelry, as well as to produce high-quality original jewelry in jewelry factories, enterprises and brands.
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Afzal, Syeda Sadia. "Importance of jewelry in Women: Case Study in Pakistan." Journal La Sociale 1, no. 2 (May 19, 2020): 27–32. http://dx.doi.org/10.37899/journal-la-sociale.v1i2.92.
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Jewelry’s anecdotes have been growing up since kingdom times. Getting acceptation day by day, women are using jewelry cutturely, etiquette generation and acquiesce. Passion of jewelry in women has trending now a days, another trending of young generation to become more attractive and beautiful with the help of jewelry. Everyone use jewelry for their capacity like, Diamon, Gold, Silver, Pearls and other materials. Time is changed and the importance of jewelry has been increased, Gold and Silver’s values are different but getting expensive of Gold other material take place here some other introduction of jewelry.
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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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Ермалицкая, К. Ф., and Н. А. Плавинский. "Preliminary Results of the Nonferrous Metals Articles from the Barrow Cemeteries in Western Regions of Polotsk Land Element Composition Study." Археология и история Пскова и Псковской земли, no. 33 (December 25, 2018): 288–94. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-278-0.288-294.
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В белорусской археологии Средневековья мало внимания уделяется технологии изготовления и составу металла ювелирных изделий. Такая ситуация не позволяет получить полное понимание особенностей технологии ювелирного ремесла, определение центров ювелирных изделий производство и способы попадания в регион сырья, необходимого для работы ювелиров. В данной публикации представлены предварительные результаты исследования ювелирных изделий с погребальных памятников верхнего Повилья. In Belarusian archeology of the Middle Ages little attention is paid to the technology of manufacturing and composition of metals. Such situation does not allow to get a full understanding of the jewelery handicraft technology features, to determine the centers of jewelry production and the ways of entering the region of raw materials necessary for the work of jewelers. In this publication preliminary results of the study of jewelry from burial cemeteries of the Upper Viliya Region are represented.
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Pereira, Beulah, Kevin Teah, Billy Sung, and Min Teah. "Building blocks of the luxury jewellery industry: conversations with a CEO." Asia Pacific Journal of Marketing and Logistics 31, no. 4 (September 9, 2019): 817–29. http://dx.doi.org/10.1108/apjml-10-2018-0415.
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Purpose The purpose of this paper is to conduct an in-depth interview with the Chief Executive Officer (CEO) of Larry Jewelry, a luxury jeweller with boutiques in Hong Kong and Singapore. Given the ever-evolving luxury jewellery market in South East Asia, it is paramount to understand the success factors of the luxury jewellery sector. Design/methodology/approach An in-depth interview approach is used to understand the antecedents of the success of the luxury jewellery sector. Specifically, this paper presents a complex business model of Larry Jewelry and an in-depth interview with the CEO of Larry Jewelry for current insights in the sector. Findings This paper highlights the history of Larry Jewelry, its product segments and the key elements of its business blueprint. Specifically, the success of Larry Jewelry is attributed to its business model and strong branding on quality, craftsmanship, rarity, human interaction and trust. Originality/value Despite the substantial growth in the luxury jewellery sector, there is relatively little research on the success factors of this industry, especially in South East Asia. The current research provides practical insights into business blueprint of a successful luxury jeweller in Hong Kong and Singapore.
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Kravchenko, Marta. "Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis." Text and Image: Essential Problems in Art History, no. 1 (2019): 77–89. http://dx.doi.org/10.17721/2519-4801.2019.1.05.
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The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.
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Sapfirova, N. "AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913." Innovative Solution in Modern Science 6, no. 42 (February 28, 2021): 204. http://dx.doi.org/10.26886/2414-634x.6(42)2020.12.
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The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.
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Ariza, Nur, Nuriadi Manurung, and Masitah Handayani. "FORECASTING THE GOLD JEWELRY SALES USING SINGLE EXPONENTIAL SMOOTHING METHOD." Jurnal Teknik Informatika (Jutif) 3, no. 6 (December 26, 2022): 1573–80. http://dx.doi.org/10.20884/1.jutif.2022.3.6.395.
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Gold is a precious metal that plays an important role in people's daily lives. People use gold jewelry as a dowry so that gold is sought after, such as earrings, necklaces, pendants, bracelets, rings and others. However, buying and selling gold jewelry at a gold jewelry store has a different strategy. Gold sellers must carry out the gold jewelry production process to meet gold jewelry supplies and market demand. The results of the sale of gold jewelry sometimes increase and decrease every day which cannot be predicted every day, so this can affect the store to find out the profits and losses that will be obtained in the future. The purpose of this study was to determine the results of forecasting sales of gold jewelry at the Yoga Gold Shop using the single exponential smoothing method in the coming month. The results of this study resulted in March 2022 9 carat gold jewelry totaling 4191.16 grams with a 3.01% MAPE, 10 carat gold totaling 2095.53 grams with a 3.01% MAPE, Surabaya gold 1047.76 grams with a 3.03% MAPE and london gold jewelery 523.83 grams with a MAPE of 3.41%. So it can be concluded that applying the single exponential smoothing method can help in predicting the sales results of gold jewelry.
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Waridah Muthiah and Agus Sachari. "MOTIF KALAMAKARA PADA TEMUAN PERHIASAN EMAS ERA MAJAPAHIT KOLEKSI MUSEUM NASIONAL JAKARTA." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 3 (February 17, 2021): 36–41. http://dx.doi.org/10.33153/semhas.v3i0.135.
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Jewelry in the Classical era in Indonesia, especially in the Late Classic era, occupies an important position in society. Apart from being a symbol of a person's status and position, when discussing the depiction of jewelry on a statue or relief, the jewelry worn by a character is also an indication in determining the identity of the character. Jewelry in the Late Classical era was made of gold, which was considered to have high material, symbolic, and religious value in society at that time. Based on the findings of jewelry in the Late Classic era, especially the Majapahit era, there is an interesting phenomenon, namely the depiction of animal figures as decorations or ornaments. This phenomenon is seen in the crown, earrings, and shoulder harness, as found in Trowulan. In some jewelery, the form of kalamakara (kalamakara) is displayed, which is usually depicted on the gate of the temple, as a repellent to disaster. The depiction of kalamakara in jewelry raises questions about the background behind the depiction. This research was conducted using qualitative methods through observation of four samples of Majapahit era jewelry found in Trowulan, the collection of the Jakarta National Museum. It can be concluded that the existence of kalamakara as a motif in jewelry is related to the meaning of kalamakara in Javanese society, namely as a repellent for disaster. 
 Keywords: jewelry, kalamakara motif, Majapahit era
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Valeev, R. M., and D. D. Rashitov. "Tatar jewelry business of the Kazan province of the early XX century in the context of professional development." Heritage and Modern Times 6, no. 2 (September 21, 2023): 103–12. http://dx.doi.org/10.52883/2619-0214-2023-6-2-103-112.
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The article deals with the historical and cultural component of the Tatar jewelry business of the Kazan province at the beginning of the 20th century. The purpose of the article is to present a comprehensive historical and cultural analysis of the Tatar jewelry of this period: to create a general picture of the development of the jewelry craft, its interaction with professional cultural traditions, and consideration of the decorative and symbolic meaning of jewelry. To address the issues raised, a typology of jewelry typical of Tatar jewelers during the study period was carried out, technical and technological features were identified, decorative and technical solutions were described, and everyday and social aspects within the profession were highlighted.
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Hussein, Rifaat. "LEGAL SOLUTIONS To SELL GOLD and SILVER JEWELRY in DEBT." Islamic Sciences Journal 10, no. 4 (March 9, 2023): 51–80. http://dx.doi.org/10.25130/jis.19.10.4.4.
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 This research deals with the ruling on selling gold and silver jewelery in debt. It is well known that the majority of jurists and modern Fiqh Jurisprudence have agreed on the inviolability of selling gold and silver jewelery with religion. Therefore I wanted to look for legal solutions and jurisprudential exegesis from falling into forbidden riba. There are two legitimate ways to get rid of falling into riba:
 The first is his photo: two people are contracted to buy jewelery in cash, but the buyer buys the jewelry from the seller, then he buys all or part of the price. The buyer then receives the money and then pays the seller a price for the jewelry
 
 
 
 
 The second way out: His image is that a person deals with a goldsmith, and he takes gold and silver jewelry as a loan. The lender then refunds it to him other than the other currencies, such as the Iraqi dinar, the US dollar or other currencies.
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Rashitov, Danil Damirovich, and Anton Evgen'evich Lestev. "Modern jewelry art of Kazan: jewelry models of architectural monuments." Культура и искусство, no. 5 (May 2021): 101–13. http://dx.doi.org/10.7256/2454-0625.2021.5.33445.
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The subject of this research is the modern history of development of Kazan jewelry art. The article explores the development of Kazan jewelry art in the 2000s; the creation of remarkable jewelry artworks as the models of famous architectural monument and their authors. The research material contains the iconographic sources – unique images of the jewelry art patterns, as well as testimonies of the eyewitnesses – the jewelry artists. One of the authors is the direct participant and co-author of the jewelry works under review Thus, the article employs the method of overt observation, interviewing, and source analysis. The scientific novelty is first and foremost defined by the chronological proximity of the studied period. The article introduces the previously unpublished images of the jewelry artworks under consideration, as well as the new facts on the revival of jewelry art in Kazan of post-Soviet period. Analysis is conducted on the sources of the revival of Kazan jewelry art and the peculiarities of jewelry works. The article also unveils the plotlines of the jewelry works and history behind them. The conclusion is made that the revival of jewelry art in Kazan, which was partially lost in the Soviet period, has begun only in the late 1990s – early 2000s. After the removal of a number of legislative restrictions, the jewelers were given the opportunity to experiment and create the true works of art.
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Varyvonchyk, Anastasiіa, Oleksandr Tsugorka, and Bogdan Mazur. "Historical context and current trends in the jewelry art of Ukraine." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 32–36. http://dx.doi.org/10.32461/2226-2180.39.2021.238677.
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The purpose of the article. Illumination of the problem of the decline of traditional folk arts associated with the functioning of unique art crafts in Ukraine in the direction of jewelry art. Methodology. The research methodology is based on the use of observations of art-historical, historical and cultural analysis. The scientific novelty lies in focusing on the disclosure of historical facts of the development of jewelry art in Ukraine, which further contributed to mass production on enterprises organized by the state and the definition of the overall issue of jewelry. Conclusions. At the end of the twentieth century, most state-owned enterprises have not sustained the economic transition to market relations. The loss of the supply system of raw materials, the decomposition of interregional well-established connections, restrictions of masters in creative opportunities, an inadequate taxation system, the rise in the price of energy carriers, and the reduction of sales volumes affected the rapid fall in the activities of art jewelry. Modern masters of jewelers after the proclaiming of sovereign Ukraine continued to develop, which noted the creation of the state's poster service of Ukraine, and later the collective association - the association of jewelers of Ukraine. Oriented on world fashion trends increased the aesthetic and artistic level of products of the Ukrainian jewelry industry. Education and growth of small private jewelry firms, carrying out personal and group exhibitions of jewelers in Kyiv, Lviv, and other cities have a positive effect on the artistic form of products, which has not always correlated with the economic component.
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Matcan-Lisenco, Inga. "THE PROMOTION OF NATIONAL IDENTITY AND ROMANIAN TRADITIONAL AESTHETICS THROUGH THE USE OF CONTEMPORARY ADORNMENTS." Journal of Social Sciences VI, no. 4 (January 2024): 41–51. http://dx.doi.org/10.52326/jss.utm.2023.6(4).04.
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This study accentuates the importance of the contemporary jewelry in the promotion of the national Bessarabanian identity. Romanian jewelry and adornments can include traditional elements, materials and techniques for the purpose of creating a unique masterpiece, which reflect Romanian culture. The ways through which contemporary jewerly can help promote Romanian national and traditional identity include inspiring traditional motifs, exploring cultural symbols, education and awareness, collaborating with local designers, and promoting sustainability. This study highlights the vital role of contemporary jewelry in preserving and transmitting Romanian Cultural Values in Bessarabia to future generations and in creating deep connections between artists, designers and the local community. It also highlights the importance of national identity in the development of contemporary jewelry, which can contribute to the promotion of Romanian traditions and crafts in the contemporary global context.
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Li, Jian Wen. "The Material Aesthetics Transformation of Jewelry Design." Advanced Materials Research 785-786 (September 2013): 1590–92. http://dx.doi.org/10.4028/www.scientific.net/amr.785-786.1590.
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With the Value Change of Jewelry itself, Jewelry Culture has Become an Independent Art Discipline. Modern Jewelry has Widely Served as Expression Media of Information，and the Standard Judging the Value of Jewelry has Transferred from those Expensive Materials such as Gold, Silver and Jewel to those Cheap, Common Materials of Environmental Protection. in the Process of Redefining the Material, the Common Materials are Endowed with Rich Cultural Connotations through Design and Become the Carrier of the Multisense of Modern People.
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Rudenko, Konstantin A. "Treasures of the Elite of the Bulgharian Ulus of the Golden Horde." Golden Horde Review 9, no. 3 (September 29, 2021): 520–46. http://dx.doi.org/10.22378/2313-6197.2021-9-3.520-546.
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Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.
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Жилина, Н. В. "MEDIEVAL JEWELRY OF THE SLAVIC PEOPLES: JEWELERY (COMPARATIVE ANALYSIS)." Вестник Тверского государственного университета. Серия: История, no. 1(65) (April 21, 2023): 77–95. http://dx.doi.org/10.26456/vthistory/2023.1.077-095.
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Статья посвящена характеристике ювелирной стадии убора из украшений славянских народов (IX–XV вв.). Автор показывает, что в славянских государствах в процессе восприятия византийского ювелирного дела и взаимодействия с ним был выработан общеславянский филигранный ювелирный набор. Сформировавшийся первоначально в Моравии, ювелирный убор, попадая вместе с выходцами из Моравии в другие славянские государства, перерабатывался, здесь устоялись отличные в деталях формы украшений. Показывается развитие в славянских государствах собственных технологических навыков, основа которых всё же оставалась византийской или моравской. Делается заключение, что в XI–XV вв. своеобразие уборов славянских народов усиливается: развиваются уборы разных ювелирных техник, формируются крупные объёмные головные подвески (колты), женский головной убор получает диадемную конструкцию, формируются женские короны. The article is devoted to the characteristics of the jewelry stage of dressing from the adornments of the Slavic peoples (IX–XV centuries). The author shows that in the Slavic states, in the process of perception of Byzantine jewelry and interaction with it, a pan-Slavic filigree jewelry set was developed. Jewelry was formed in Moravia, then spread along with immigrants from Moravia to other Slavic states, here, in the process of its processing, forms of jewelry excellent in detail were established. It shows the development in the Slavic states of their own technological skills, the basis of which still remained Byzantine or Moravian. It is concluded that in the XI-XV centuries. The originality of the headwear of the Slavic peoples is intensifying: headdresses of various jewelry techniques are developing, large volumetric head pendants (colts) are being formed, women's headwear is getting a diadem design, women's crowns are being formed.
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RASHITOV, Danil D. "Russian jewelry school in Kazan at the beginning of the 20th century." Service plus 19, no. 1 (March 14, 2025): 74–80. https://doi.org/10.5281/zenodo.15169981.
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The article examines the historical and cultural component of Russian jewelry in Kazan in the early 20th century. The purpose of the article is to make a comprehensive historical and cultural analysis of Russian jewelry of the period. The objectives are to identify the conditions for the development of jewelry, its interaction with culture, and to consider the decorative and symbolic meaning of jewelry. The main principle of constructing the article was the methodology of the history of everyday life, which provides objective facts inherent in the period. To solve the tasks, it is necessary to conduct a typology of jewelry typical of Russian Kazan jewelers during the period under study, identify technical and technological features, and describe decorative and technical solutions. In the early 20th century, Kazan, as one of the largest cultural and economic centers of the Russian Empire, played an important role in the development of jewelry art. The multinational nature of the region, where Russians, Tatars, Chuvashes, and other ethnic groups coexisted, created a unique atmosphere for the synthesis of various artistic traditions and craft practices. The vibrant diversity of jewelry produced in Kazan reflected both the rich history of local cultures and the influence of Western styles and technologies. The article examines the combination of traditional Tatar ornaments and Russian craft techniques that contributed to the formation of a special Kazan style in jewelry. We will analyze key craftsmen and art teams, their role in improving the quality of products and disseminating new technologies, as well as the impact of socio-economic changes that took place in the region on the eve of the revolution. Contributing not only to the artistic but also to the economic development of the city, Kazan jewelers left a legacy that continues to attract the interest of modern researchers and collectors.
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Ермакова, Екатерина Станиславовна. "From Folk Tradition to the Modern Studio Jewelry Art of Central Asia." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 63–76. http://dx.doi.org/10.26158/tk.2020.21.2.006.
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В Средней Азии авторское ювелирное искусство возникает в 1970-1980-х гг. Оно пришло на смену народному традиционному. В статье исследуются характерные признаки традиционного и современного авторского (студийного) ювелирного искусства. Среди выделенных свойств самыми важными являются объем информации и свобода выбора. Сегодня сформировались три основных стилистических направления, для каждого из них характерно определенное отношение к традиционным и новым материалам. Первое - традиционная школа, в рамках которой мастера копируют старинные украшения, используя традиционные материалы. Второе - этнический стиль, главная задача которого не копирование старых форм, а создание узнаваемого образа, связанного с национальной культурой. При переходе на классическую технику филиграни, выбирая материалы, ювелиры следуют своим эстетическим представлениям и вкусам потребителя. Третье - современный авторский стиль, основанный на индивидуальном восприятии национальной культуры. В авангардных авторских работах художник свободно обращается с новыми для ювелирного искусства материалами, используя дерево, кожу, войлок, кость, шелк. In Central Asia, modern studio jewelry art came to life in the late 1970s and 1980s. It replaced traditional folk jewelry. It this article the author investigates the characteristic features of both traditional and modern jewelry. She singles out the main difference between a folk craftsman and a modern artist-jeweler as the latter’s greater freedom of creative choice; while the folk craftsman was circumscribed by tradition and limited information, modern jewelers who position themselves as artists strive to create something unique and able to be copyrighted. Today there are three main trends in the art of Central Asian jewelry that demonstrate specific uses of both traditional and new materials. The first one, that may be called “traditional school,” practices the copying of old forms, techniques and materials. Another group of artists work in the “ethnic style,” creating images inspired by traditional culture but not copying old forms or decorative motifs. They use traditional filigree techniques in order to express their artistic imagination as well as satisfy the needs and tastes of their customers. The third, “avant-garde,” group of contemporary jewelers work in an original style based on personal interpretations of local cultural traditions. They explore new materials, such as wood, leather, felt, silk and animal bone that were never used before in local jewelry.
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Umgaeva, O. V. "REGISTRATION FORMS FOR SMALL JEWELRY BUSINESS WORKING WITH PRECIOUS STONES AND METALS." ECONOMIC VECTOR 1, no. 40 (March 2025): 115–21. https://doi.org/10.36807/2411-7269-2025-1-40-115-121.
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The jewelry business in the sphere of turnover of precious metals and stones (DMDK) operates in various forms proposed by Russian legislation. In 2024, a registration form as a jeweler artist is additionally proposed for manufacturers who individually produce precious products. A comparative assessment of the current forms of registration of the jewelry business emphasizes the need to clarify some concepts of legislation, since based on the mechanism for obtaining the status of an artist-jeweler, there are no obvious benefits for participants yet. In the author's opinion, the status of an artist-jeweler can be clarified within the framework of current tax legislation for individuals, as well as the self-employed. At the same time, the accounting procedure for precious raw materials used for the manufacture of jewelry by an individual manufacturer should be simplified: the time for production (creativity) should not exceed the time of its documentation
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Zhang, Guoqing, Jiangtao Wang, Junxin Li, Xiaoyu Zhou, and Yongsheng Zhou. "Research on Key Technologies of Jewelry Design and Manufacturing Based on 3D Printing Technology." Coatings 14, no. 6 (June 3, 2024): 701. http://dx.doi.org/10.3390/coatings14060701.
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In conjunction with the swift enhancement of China’s economic prowess, the demand for jewelry among the populace is gradually evolving towards personalized, customized, and intricate designs. Traditional manufacturing approaches are increasingly inadequate to meet these evolving demands. However, the advent of 3D printing technology presents a viable solution for the direct fabrication of such sophisticated jewelry. To this end, the conceptualization of personalized jewelry inspiration is initiated, followed by the implementation of parametric design using SolidWorks 2018 software. Subsequently, 3D printing technology is employed to materialize the jewelry directly. Results indicate that the “Guardian” jewelry model, crafted through the parametric modeling method, exhibits a commendable design, and adheres to processing requirements following a comprehensive risk analysis. The strategic adjustment of the jewelry’s position effectively reduces the required support, circumventing the necessity of adding support to critical surfaces. The surface of the Selective Laser Melting (SLM)-manufactured “Guardian” jewelry boasts a lustrous finish, showcasing optimal overlap between pillars and excellent connectivity among pores. Minimal powder adherence on the surface is observed, enabling direct utilization post-sandblasting, polishing, and plating. This establishes a solid foundation for the direct application of SLM-manufactured personalized jewelry.
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Rosmita, Rosmita, Kasman Bakry, Sri Reski Wahyuni Nur, Maryam Maryam, and Yulianti Yusuf. "HUKUM ZAKAT PERHIASAN EMAS DALAM PERSPEKTIF ISLAM (STUDI KOMPARASI ANTARA MAZHAB HANAFI DAN MAZHAB SYAFI’I)." Ar-Risalah Media Keislaman Pendidikan dan Hukum Islam 22, no. 1 (April 1, 2024): 131. http://dx.doi.org/10.69552/ar-risalah.v22i1.2072.
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This study aims to determine the law of zakat on gold jewelry according to the Ḥanafī and Syāfi'ī schools as well as the similarities and differences between the two schools. To get answers to the above problems, the type of research used is qualitative research in the form of library research focused on manuscript and text studies. The research results found are; First, according to the Ḥanafī school of thought, gold jewelry is obliged to pay zakat based on general and specific arguments regarding the law of gold zakat. Second, the Syafi'i School views that zakat on gold jewelery is not obligatory to pay. Third, the similarity of the views of the Ḥanafī school and the Syāfi'ī school regarding the law of zakat on gold jewelry is their agreement that it is obligatory to pay zakat on gold jewelry worn by men. The two schools of thought also agree that it is obligatory to pay zakat on gold jewelry that is forbidden to be used by women or men. The difference between the two schools of thought is their difference in looking at the gold jewelry, the Hanafi school views it in terms of the basic material of gold jewelry so that the law is the same as gold which is not used as jewelry that must be paid zakat while the Syāfi'ī school views that gold jewelry has already been paid. is no longer judged as mining goods because it has changed its form so that it is the same as goods used to meet human needs so that zakat is not obligatory to be issued.
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Lipczik, Agata. "Making a Name in a Male-dominated Industry: Women Jewelers in Poland Before 1939." Załącznik Kulturoznawczy, no. 9 (2022): 803–21. http://dx.doi.org/10.21697/zk.2022.9.40.
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The article aims to present the opportunities for women’s professional development in the jewelry industry in prewar Poland. By analyzing the biographies of selected women jewelers who trained in the 1930s, the career paths available at that time were indicated. The article also tries to answer the question of how the conditions in which the jewelry industry in Poland operated at that time influenced the situation of women entering the profession. It can serve as a reference point for further research on the presence of women in jewelry in Poland and Central and Eastern Europe.
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Samedova, Sevda T. "Bronze goods as a reflection of the ethnocultural ties of the South Caucasus peoples in ancient times." Historical Ethnology 10, no. 2 (June 2, 2025): 161–79. https://doi.org/10.22378/he.2025-10-2.161-179.
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The object of the study are ancient bronze goods discovered in the South Caucasus as a result of archaeological excavations at the sites of ancient settlements and burial grounds of the Bronze and early Iron Ages. Among the various types of bronze jewelry, bracelets were the most numerous and functionally in demand, as they were used simultaneously as decoration and amulets. There is an opinion that they were an equivalent of money and served as a means of commodity-money exchange. In the era of antiquity, in the region, jewelers continued to produce bronze jewelry along with jewelry made of silver and gold. Commonly found jewelry made of silver and gold were compositionally close or identical to bronze jewelry. In the antique layers of the region, bronze jewelry is found in all types of burial grounds. At that time, weapons and tools began to be made of iron. In addition to bracelets, other types of bronze jewelry have been identified – various pendants, rings, neck jewelry, and numerous buckles. The study identifies jewelry that is similar in parameters (technique of execution, metal composition, style of form and decoration), which was found during archaeological excavations located distant from each other. The objective of the study is to conduct the comparative analysis of the identified local artifacts with artifact decorations that are generally similar within the region; to reflect such aspects of these goods as form, type and elements of ornamentation, raw material base of products, which indicate ethnocultural contacts of the population of the region.
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NALÇACIGİL, Emre, and Ahmet Fatih ÖZYILMAZ. "A Research on Marketing and Consumer Habits in Konya Jewelry Sector." ISPEC International Journal of Social Sciences & Humanities 4, no. 4 (September 5, 2020): 350–86. http://dx.doi.org/10.46291/ispecijsshvol4iss4pp350-386.
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More than 50 percent of the world's gold production and more than 90 percent in our country are used in jewelry making. Gold, which has been used for decoration and investment instrument for centuries, continues to be demanded by the people of our country in order to both decorate and saving with a habit stemming from our traditions. Turkey’s jewelry sector, which is in the top 5 in the world gold demand and ranked 2nd in gold jewelry exports, currently has 5500 jewelry shops, 20 large jewelry production complexes, 100 wholesale jewelry stores, 40 thousand jewelry shops and 250 thousand employees work in this sector. Jewelry sector has produced for many years with manual labor. Today, the sector has to keep up with the transition to technology-intensive production in order to operate in the world markets and to meet the increasing export demand. The problems of the sector, which has come to a certain place in the world markets and strives for first place, are dealing with greater attention than before. After 1990, the sector was put into a reform process. Necessary institutions for the development of the sector have been put into operation. On the other hand, the development of this industry; While it manifests itself in issues such as branding, product design, technological innovations, marketing strategies, deficiencies in legal regulations damage especially the small-scale jewelry traders. In this study, luxury consumption and hedonic shopping habits are examined by searching literature. In this respect, the phenomenon of consumption was first examined in detail. In the second part, the jewelry sector was explained in all aspects, and then a research was conducted on the consumer habits and the state of the sector with the support of the Konya Jewelers Association.
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Taelen, Ebba Van der. "Double activation: the ephemeral interaction between body and jewelry." Journal of Textile Engineering & Fashion Technology 11, no. 2 (2025): 59–62. https://doi.org/10.15406/jteft.2025.11.00404.
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Contemporary jewelry is a niche within the applied arts, yet recent years there has been substantial theoretical development in this field. However, a particular category of jewelry has remained underexplored: pieces that actively assert their presence rather than merely adorning the body passively. These 'active' jewelry pieces have not been theorized, a gap I aim to address by coining the concept 'double activation'. According to Kevin Murray and Rock Hushka, every piece of jewelry becomes ‘activated’ when worn on the body. However, I argue that 'double activation' jewelry also ‘activates’ the body, resulting in a second - 'double' - activation. These pieces induce sensations in the wearer's body that would not be experienced without the jewelry. They achieve this through five mechanisms: (1) restricting movement, (2) interacting with body parts and potentially causing pain, (3) manipulating the body's forms, (4) extend ing the body to generate new sensations, and (5) taking control over the body. Drawing on examples such as Jennifer Crupi’s Ornamental Hands: Figure One and Akiko Shinzato’s Chin Up, this article explores how these works subvert conventional jewelry’s passive role. These pieces demand a temporary relationship between body and object, where control is relinquished to the jewelry. As such, ‘double activation’ can be seen as a performative event — a brief moment in which the wearer’s body and the jewelry coalesce into a singular entity before the interaction becomes unsustainable. This ephemeral relationship challenges the notion of jewelry as static and ornamental, proposing instead a conceptual framework where the focus is placed on transient bodily experiences. In this way, ‘double activation’ shifts the discourse on ephemerality in jewelry from the materiality of the object to the temporality of the interaction itself.
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Condraticova, Liliana. "The local school of jewelry: unknown and unjustly lost names." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 55–62. http://dx.doi.org/10.59295/dia.2023.1.07.
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Associated in workshops or as freelancers, working mainly in the city of Chișinău as one of the most important socio-economic and cultural centers of the country, jewelers and craftsmen have left an indisputable legacy, conceived in many articles of historical, artistic and memorial value. The 1972–1991 years were marked by the founding of the Jewellery Workshop of the Plastic Fund of the UNAP (1972), which allowed the concentration and unification of the efforts of the few artists who artistically processed metals. The jewelers worked in the Jewellery Workshop, promoting and continuing the traditions of the local school, they created decorative articles and author jewelry. They created professional articles, from an artistic and technological point of view, and participated at exhibitions. The aim of this article is to bring into prominence the name of a few artists from MSSR, who worked at the Jewellery Workshop since its foundation and had an essential impact in the assertion of the art of metals in the MSSR. The local school included craftsmen, who studied at artistic educational institutions from MSSR, as well as those self-taught in the metal art field. Names like Ovidiu Alexeenco, Valeriu Vinitchi, Vasile Shocin hold a special place alongside such artists, as Oleg Barascov, Gheorghe Cojusnean, Vladimir Kalasnikov, Semion Odainic, Natalia Vavilina, Victor Rotari etc., who developed together the local school in the field of metal art.
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Dipali Ghatge, Sharvari Deshmukh, Ankita Gaikwad, Kaustubh Iparkar, and Anuj Mane. "Virtual Jewellery Try-On: Enhancing Consumer Engagement and Personalization." International Research Journal on Advanced Engineering Hub (IRJAEH) 2, no. 12 (December 12, 2024): 2811–15. https://doi.org/10.47392/irjaeh.2024.0388.
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This study presents a mobile-based augmented reality (AR) solution for virtual jewelry try-on, designed to enhance the e-commerce user experience by enabling customers to visualize and interact with jewelry in real time. The system employs Google ML Kit for real-time pose detection and tracking of body landmarks such as shoulders and fingers. By integrating Flutter-based modules with machine learning models, the application achieves accurate overlay of virtual jewelry on detected positions. Interactive gesture-based controls, including tap-to-place, scaling, and rotation, allow users to customize the jewelry’s fit and appearance. To address challenges related to camera instability, smoothing algorithms are implemented to minimize visual jitter, ensuring a seamless experience. Preliminary evaluations indicate that the proposed solution delivers precise and responsive virtual jewelry placement, effectively engaging users with its intuitive interface and interactive features. Although certain limitations, such as manual adjustments and device performance constraints, persist, the system demonstrates strong potential for advancing digital jewelry retail. This research uniquely combines real-time AR, pose detection, and gesture recognition in a mobile application, offering an accessible and realistic try-on experience. It addresses critical usability challenges in the jewelry industry, bridging the gap between traditional shopping methods and digital innovation. This study highlights new opportunities for enhancing customer engagement and driving e-commerce growth within the jewelry sector.
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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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Wijaya, I. Putu Sinar, and Ngurah Adhi Santosa. "Kajian Manuk Dewata pada Hiasan Kerajinan Bungkung Bali “Ornamen Bali”." Journal on Education 5, no. 1 (December 24, 2022): 808–14. http://dx.doi.org/10.31004/joe.v5i1.687.
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Balinese jewelery from the royal era is still popular and has also been developed by several jewelery craftsmen, with existing and new designs and motifs, Balinese handicrafts with manuk dewata motifs and the addition of Balinese ornaments, where the manuk dewata motif has a different philosophy. Strong with Balinese Hindu culture and customs. The method used is descriptive research which aims to describe, record, analyze and interpret current conditions that occur in the field. Types and approaches are very important in the preparation of research, while the type of research used is qualitative research. Manuk Dewata itself, especially in Bali, is used as a symbol in the Ngaben ceremony because it is believed to be a spirit that conveys immortality, so Balinese craftsmen make humung jewelry designs with manuk dewata motifs with a combination of other Balinese ornaments, thus creating a work of jewelry made of bamboo made of gold and gold. silver, from the royal era until now is called and known by the manuk dewata motif. The manuk dewata motif was requested because this motif looks classic and timeless, it even looks more dignified for those who wear jewelry with this manuk dewata motif.
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Podosenova, Yu. "Grain-filigree cross-shaped pendants of the Permian Pre-Urals region." Proceedings of the Komi Science Centre of the Ural Division of the Russian Academy of Sciences, no. 1 (May 17, 2023): 19–25. http://dx.doi.org/10.19110/1994-5655-2023-1-19-25.
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The jewelry heritage of the Rodanovo culture, the Western Urals, includes cross-shaped pendants with a silver plate as a base with a grain-filigree decoration. The article highlights the study results of these jewels. Collection, visual analysis, and study of sources with different methods allow for a detailed view about the design of items, their production specificity and decoration techniques, as well as about their origin and distribution period. The jewels were made of silver and decorated in various jewelry techniques as granulation and filigree, with inserts of ornamental stones and glass, embossed elements in form of semi-spheres, gilding. The identified stylistic and technological characteristics of the artefacts indicate that the jewelry pieces were made by local craftsmen. Almost all pendants are rather standard, few in number, produced not later than in the end XI-XII centuries.
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S., Umameswari* &. N. G. Kumaran**. "ROLE OF VENUS IN JEWELERS / JEWELRY BUSINESS." International Journal of Computational Research and Development (IJCRD) 8, no. 2 (August 27, 2023): 10–14. https://doi.org/10.5281/zenodo.8287616.
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In the nine planets of the zodiac Venus is the sixth one. Venus is the son of saint Brigu and Pilomisai. Saint Brigu is the son of Lord Brhma. So, Venus is also called as Bhrgava and also as Kavi. Venus, have Garuda (egale) as his vaahan (Vehicle). Venus is the karak for arts. He is the lord for the three stars - Ababarani, Poorva Pulguni and Poorvashada. Gold is used mostly in ornaments. If Jupiter and Venus are placed in the 4<sup>th</sup> house, or 4<sup>th</sup> lord have conjunction with the benefic planets Jupiter, Venus, the Moon and the Mercury or the 3<sup>rd</sup> lord is in the Jupiter’s house or in the Venus’s house or the lords of 10<sup>th</sup> and 11<sup>th</sup> houses the native will happen to do the business of gold, diamond ornaments.
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Hogan, Elena N. "Jewels of the Occupation: Gold Wedding Jewelry in the West Bank." Journal of Palestine Studies 39, no. 4 (2010): 43–49. http://dx.doi.org/10.1525/jps.2010.xxxix.4.43.
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This article examines the social role and broader cultural meanings of gold jewelry used in Muslim weddings in the West Bank---"marriage jewelry" that by right belongs exclusively to the woman and whose socio-symbolic value extends far beyond its market value. Through interviews with muftis, gold dealers, and especially Palestinian women, the article explores the unwritten "rules" governing marriage jewelry's exchange, and how these rules are affected in a context of occupation and economic hardship. In particular, the author discusses the relatively new phenomenon of imitation (or "virtual") gold jewelry for public display in wedding rites, exploring the new rules growing up around it and speculating on its long-term impact on entrenched traditions.
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Nováková, Kateřina Nora. "Šperk v roli geometrické abstrakce. Eleonora Reytharová." Fontes Nissae 25, no. 2 (2024): 2–11. https://doi.org/10.15240/tul/007/2024-2-001.
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We have encountered the name of Liberec jeweler Eleonora Reytharová in exhibitions and publication presentations of contemporary Czech jewelry since the end of the 1960s. Her distinctive creative style focuses mainly on geometric shapes in the intentions of geometric abstraction. She worked with squares, triangles and circles in both silver and copper in combination with acolored enamel surface. In some jewelry, she also applied elements of structural abstraction through wires, surface relief, or precious stones.
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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.
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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.
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Matcan-Lisenco, Inga. "SMART JEWELRY DESIGN, AESTHETICS AND INNOVATION IN THE DIGITAL AGE." JOURNAL OF SOCIAL SCIENCES 7, no. 4 (January 15, 2025): 42–53. https://doi.org/10.52326/jss.utm.2024.7(4).04.
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This research analyzes the integration of smart jewelry, which combines fashion with technology, meeting the functional and aesthetic requirements of the 21st century. These advanced accessories, equipped with features such as health monitoring and Bluetooth/NFC connectivity, require a multidisciplinary approach in the design process. The study emphasizes the balance between aesthetic appeal and utility, highlighting the use of recyclable materials and classifying jewelry into four distinct categories, each with specific advantages and challenges. It also investigates the impact of emerging technologies on jewelry design and current trends, demonstrating how these innovations are transforming the accessories industry. Relevant examples from renowned jewelers and companies are presented to illustrate sophisticated designs and wireless interactions. Additionally, innovations such as the StreetSmart app and the Project BLAID device highlight their contribution to the mobility of individuals with visual impairments. In conclusion, smart jewelry represents a significant expression of contemporary trends in fashion and technology, offering new opportunities for IoT connectivity and design flexibility.
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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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Ionesov, Vladimir I., and Ilgiz F. Fazulzyanov. "Aesthetics of Samarkand in Ilgiz Fazulzyanov’s Jewelry Art: Heritage as an Area of Creativity." Sphere of culture 4, no. 1 (May 23, 2023): 121–30. http://dx.doi.org/10.48164/2713-301x_2023_11_121.
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The editorial board of the journal presents a conversation of Vladimir Ionesov (Doctor of Culturology, Professor, Samara State Institute of Culture) with Ilgiz Fazulzyanov, a well-known Russian artist and jeweler. The issues of aesthetic transformation of national traditions in modern applied art are discussed on the example of the jewelry collection Samarkand. The article reveals the peculiarities of artistic design in jewelry art, the aesthetics of the historical heritage of Samarkand, and the interaction of the past and the present in the dialogue of cultures and time as well as semantic, stylistic and value attitudes in the creative design of modern jewelry art objects. National artistic traditions are considered as a source of high inspiration, a generator of new cultural practices and actual creative work.
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Alcalde-Llergo, José Manuel, Aurora Ruiz-Mezcua, Rocío Ávila-Ramírez, Andrea Zingoni, Juri Taborri, and Enrique Yeguas-Bolívar. "Automatic Identification and Description of Jewelry Through Computer Vision and Neural Networks for Translators and Interpreters." Applied Sciences 15, no. 10 (May 15, 2025): 5538. https://doi.org/10.3390/app15105538.
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Identifying jewelry pieces presents a significant challenge due to the wide range of styles and designs. Currently, precise descriptions are typically limited to industry experts. However, translators and interpreters often require a comprehensive understanding of these items. In this study, we introduce an innovative approach to automatically identify and describe jewelry using neural networks. This method enables translators and interpreters to quickly access accurate information, aiding in resolving queries and gaining essential knowledge about jewelry. Our model operates at three distinct levels of description, employing computer vision techniques and image captioning to emulate expert analysis of accessories. The key innovation involves generating natural language descriptions of jewelry across three hierarchical levels, capturing nuanced details of each piece. Different image captioning architectures are utilized to detect jewels in images and generate descriptions with varying levels of detail. To demonstrate the effectiveness of our approach in recognizing diverse types of jewelry, we assembled a comprehensive database of accessory images. The evaluation process involved comparing various image captioning architectures, focusing particularly on the encoder–decoder model, crucial for generating descriptive captions. After thorough evaluation, our final model achieved a captioning accuracy exceeding 90%.
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Reed, James. "Jewelry." Organization & Environment 16, no. 2 (June 2003): 231. http://dx.doi.org/10.1177/1086026603016002010.
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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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Dospěl Williams, Elizabeth. "Gems in Cloth and Stone: Medium, Materiality, and the Late Antique Jeweled Aesthetic." Textile Museum Journal 45, no. 1 (2018): 22–39. http://dx.doi.org/10.1353/tmj.2018.a932727.
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Abstract: In The Jeweled Style: Poetry and Poetics in Late Antiquity , Michael Roberts argues that color, opulence, repetition, and variety epitomized the period’s aesthetics, a phenomenon he terms the “jeweled style.” Although Roberts did not consider textiles in his analyses, this article argues that fabrics participated in the same trends, perhaps even serving as intermediaries in the transfer of motifs between actual gemstones and architectural decoration. The first part of the article shows how Roberts’s definition of the jeweled style fits in larger art historical discussions about late antique aesthetics and visuality. The bulk of the article presents examples of tapestry-woven textiles from the fourth through eighth centuries that depict gems and jewelry in woven form. Many tunics, for example, depict gemstones along their collars; furnishing textiles, too, frequently include representations of gems and jewelry, most notably at the edges of fabrics or as part of woven renderings of architectural structures like columns and arcades. On the most basic level, these woven gemstones reflect the broad popularity of the jeweled aesthetic among a wide social spectrum and in a variety of contexts, especially in fabric furnishings. More particularly, the popularity of jeweled motifs in textiles points to a sophisticated appreciation for artistic bravura, as weavers pushed against the limits of the textile medium to transform yarns into precious stones. Lastly, the article argues that a focus on textiles with jeweled designs points to the interrelatedness of ornamental motifs in late antique jewelry, textiles, and architectural décor, an observation which in turn highlights compelling aesthetic connections between the adorned human body and the built environment.
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A., SHTANGRET, and KARAYM M. "Problems of the development of the domestic jewelry industry as the basis for the implementation of anti–crisis management." Market Relations Development in Ukraine №3 (202) 154 (May 11, 2018): 131–36. https://doi.org/10.5281/zenodo.1245582.
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Conditions for the development of the domestic jewelry industry can be defined as those that are characterized by high aggressiveness of the external environment of functioning. Complicating the situation and the lack of jewelry industry enterprises sufficient flexibility in management, the ability to counteract negative influences and adapt to the rapidly changing conditions of management. It was found out that the solution of a significant number of problems is possible through the use of anti–crisis management. The methodical bases of realization of anti–crisis management at the enterprises of the jeweler industry are considered.
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Хавлюк, Павло. "Ювелірна справа в уличів". Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, № 1 (12 червня 1999): 13–19. http://dx.doi.org/10.31652/2411-2143-1999-01-13-19.
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Since the middle of the last century, a significant number of women's earrings of original shapes have been found on the territory of the forest-steppe Right Bank of Ukraine, which have attracted the attention of researchers for their perfection and artistic completeness. Although these finds were discovered mainly during household work, which made it difficult to determine the place of their manufacture, bronze stamps from the Peresopnytsia burial site in Volyn were attributed to women and associated with their earrings. Most of the finds of such earrings are concentrated in the Southern Pobuzhzhia and the Prut-Dniester interfluve, mainly in Kodra. Research of treasures and archaeological excavations in the Nemyriv district confirms the existence of local jewelry production. A jeweler's treasure found in Chervone, containing stamps, unfinished pieces, and tools, shows the high level of skill of street jewelers. The jewelry craft of the street jewelers included the production of two types of earrings: massive full-bodied and openwork hollow earrings, which had a wide range of techniques such as casting, soldering, skinning, and grain. The high quality and standardization of the products demonstrate the significant development of jewelry art in this region, despite the lack of its own raw material base. The archaeological materials collected refute the claims of some researchers about the low level of artistic craftsmanship of the Slavs, in particular the ulichs. They show that the jewelry production of the Ulychi reached a high level in the IX-XII centuries and was an important component of the socio-economic development of the forest-steppe region where the Ulychi lived.
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Er, Birnaz. "The Position of Traditional Anatolian Jewellery in the Jewellery Sector and Production Problems." European Journal of Economics and Business Studies 5, no. 1 (August 30, 2016): 113. http://dx.doi.org/10.26417/ejes.v5i1.p113-122.
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Traditional jewelry is a symbol of Anatolian culture. Anatolia has a rich identity in respect to handcrafts and nearly all of Anatolia districts have its own identical handicrafts. Jewelry is among this handicrafts that is produced only in special area and symbolizes its own region. Unfortunately, technological achievements adversely effects the traditional jewelry production such as, reducing the demands of them and decreased interest. The jewelry industry prefers the mass production techniques and this leads to destruction of traditional jewelry preferences. Nowadays, traditional jewelry is about to be destroyed. In this research, the position of traditional Anatolian jewelry in the jewelry sector will be investigated. In this context, firstly the Anatolian’s traditional jewelry will be introduced then, the position of traditional jewelry will be researched and the results will be explained, and suggestions for solutions will be presented.
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Rumaladewi, Ni Kadek Bintang Indah, and I. Nyoman Taun. "PENGARUH KUALITAS PRODUK, BRAND IMAGE, DAN PENGGUNAAN JASA ENDORSEMENT TERHADAP KEPUTUSAN PEMBELIAN PERHIASAN PERAK DI SUNAKA JEWELRY CELUK, SUKAWATI, GIANYAR." Jurnal Ilmiah Manajemen dan Bisnis 4, no. 1 (June 14, 2019): 103. http://dx.doi.org/10.38043/jimb.v4i1.2156.
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This study aims to determine: (1) the effect of product quality on purchase decision of silver jewelry in Sunaka Jewelry, (2) the effect of brand image on purchase decision of silver jewelry in Sunaka Jewelry, (3) the effect of endorsement usage on purchase decision of silver jewelry in Sunaka Jewelry, and (4) the effect of product quality, brand image, and endorsement usage on purchase decision of silver jewelry in Sunaka Jewelry. This research is a survey research. Population in this research is all customer of Sunaka Jewelry Celuk, Sukawati, Gianyar which purchased silver jewelry from Sunaka Jewelry. The sampling technique used accidental sampling with the number of samples counted 75 peoples. Data collection technique using questionnaires that have been tested for validity and reliability. Data nalysis technique used is multiple regression.The results of the research shows that: (1) product quality had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,006 < 0,050 and regression coefficient = 0,206), (2) brand image had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,028 < 0,050 and regression coefficient = 0,250), (3) endorsement usage had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,015 < 0,050 and regression coefficient = 0,231), and (4) the product quality, brand image, and endorsement usage influence simultaneaously to purchase decision on Sunaka Jewelry (showed by F count = 23,753 and significance value of 0,000 < 0,050).Keywords: product quality, brand image, endorsement usage, purchase decision
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Loughran, Kristyne S., and John Mack. "Ethnic Jewelry." International Journal of African Historical Studies 22, no. 2 (1989): 382. http://dx.doi.org/10.2307/220084.
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