Abstract
The term «reminiscence» is rarely used in modern research on decorative art. An example of how he works in this field is given based on an analysis of the author’s jewelry art in Russia. The theoretical conceptualizations of the term proposed by various researchers and their propositions are compared with the unique works of leading jewelers of the 1930s-2020s. Using specific examples of borrowings, adhering to the established periodization and realities of the artistic and historical context, the manifestations of particular forms of reminiscences are analyzed: quoting – «verbatim» accuracy; replication – with changes; compilation – the use of parts to create a whole; variation – modification of elements; stylization – imitation of decorative effects. «Reminiscence» is considered as a tool of an artistjeweler, to which he resorts in solving specific creative tasks.
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