Gold Thread Research Articles

Facial Gold Reinforcement: 28 Years of Experience in the Use of Gold Threads

Introduction: Gold threads became widely used in esthetic surgery in the early 1990s. Produced in Spain, these threads consisted of a gold thread (5/0) with a diameter of 0.1 mm, composed of 99.99% pure gold, which was combined with a polyglycolic thread. Since then, discussions about their effectiveness have continued, which is the focus of our study. Patients and Methods: Gold thread implantation was performed on 11,062 patients in four clinics in Moscow over the course of 28 years. This study used a comparative analysis of photo collages created for the visual representation of data and changes before and after the procedure, as well as patient satisfaction assessments using the Patient Satisfaction Scale (PSS). We examined the results of 492 patients who underwent gold thread implantation in the face between 1996 and 2024. Of these patients, 86% were women aged 30 to 60 years, 11% were women aged 20 to 30 years, and 3% were men aged 25 to 60 years. Results: One year after thread implantation, the PSS assessment showed a 91% success rate with minimal complications. Patient satisfaction was high, with an average score of 4.8 out of 5 after one month, 4.7 after six months, and 4.6 after one-year post-procedure. Discussion: Gold thread implantation is a minimally invasive procedure that has demonstrated a high level of safety, making it an effective option for facial rejuvenation. Histological studies have shown that gold threads stimulate the production of collagen and elastin and activate angiogenesis, thereby improving skin nourishment and hydration, as well as enhancing the skin tone, elasticity, and turgor. To improve the qualitative characteristics of the skin, it is necessary to work in the subcutaneous layer. Conclusions: Gold thread implantation strengthens the connective tissue framework at the implantation site, thus improving skin nourishment and hydration. Gold threads provide a long-term rejuvenating effect, slowing the ptosis of the soft tissue of the face and neck. Gold thread implantation does not interfere with tissue dissection during surgical interventions or the performance of any cosmetic procedures, including hardware-based treatments.

초기 고구려의 기층문화 연구 ④ - 桓仁 지역 돌무덤

This article analyzes the Dalishugou site, Dadianzi site, Guangfucun site, Fengjiapuzi site, and Wangjianglou site in Huanren County. Through the analysis of tombs, the location and distribution of tombs, their structure, burial method and funerary objects were examined from a tentative perspective. The structures of the tombs are diverse, and include stone cists, stone-lined tombs, pit-type and stone-mound-type dolmens, stone-mound tombs with capstones, and stone-lined tombs with non-stepped stone cairns. The stone-mound tombs with capstones have only been excavated at the Fengjiapuzi site. These tombs appear to be of a transitional aspect as they have a complex structure of a dolmen and a stone-mound tomb. Cremation customs were investigated at the Dadianzi site, Guangfucun site, Fengjiapuzi site, and Wangjianglou site. In particular, traces of the transformation of funerary objects due to cremation in the tomb were investigated. The bones in Wangjianglou tomb No. 1 were grayish-white in color, indicating cremation at high temperatures. Few artifacts were excavated from the tombs. A narrow-bladed bronze dagger and bronze arrowhead were excavated from the Dadianzi tomb, and a bronze bracelet was excavated in the Guangfucun tomb. Although several tombs with relatively diverse structures were excavated at the Fengjiapuzi site, the artifacts were simple, such as a mounted cup and a polished stone dagger imitating a narrow-bladed bronze dagger. In the Wangjianglou tomb, earthenware such as a Long-necked jar with four-ears, a jar-like plate, various ironware, jade bracelets, glass rings and ear plug, earring made of braided gold thread, and various ball-shaped beads were found. Among these, the Long-necked jar with four-ears is compared to a jar excavated from the Longtoushan dolmen in Xinbin and has many similarities with the earthenware of early Goguryeo. The tombs from the Bronze Age to the early Goguryeo period in the Huanren County are helpful in understanding the process of change and development in terms of their structure and funerary objects. The Dalishugou tombs was built around the 10th century BC. With the advance of the Yan Dynasty in the early 4th century BC, ironware from the Eastern Zhou was introduced, bringing about significant cultural changes in Northeast Asia. The stone cist tombs at the Dadianzi site and the dolmen at Guangfucun site date from around the mid-3rd century BC, although there is no significant difference in time. Also, around this time the stone-mound-type dolmens at the Fengjiapuzi site were built, as well as. The stone-mound tombs with capstones (No. 3 and No. 5) at the Fengjiapuzi site constructed at the end of the 3rd century BC. Meanwhile changes occurred as stone mounds played an important role in the tomb structure of this period, which became the stone-lined tombs with non-stepped stone cairns, representing the early Goguryeo tombs. Tombs No. 1 and No. 4 at the Wangjianglou site and tomb No. 4 at the Fengjiapuzi site are inferred to have been built around the 2nd century BC at the latest.

Malay Cultural Heritage Preservation Through Seni Tekat Motif On Kerongsang Tok Design

Seni Tekat is a form of embroidery on cloth, usually velvet, using gold threads, and has been an important form of cultural expression throughout history. The art of seni tekat embroidery is a treasure inherited from our famous ancestors in Kuala Kangsar, Perak. In Malaysia, Seni Tekat is a work-related skill heritage hand decorated with gold or silver thread embroidery sewn on a velvet base cloth according to a certain motive or pattern. The design senses of the motifs found in the gold thread art are inspired by the design composition of the pattern that borrows the design that is sourced from nature available in Malaysia. This form of embroidery has been down through generations, and it continues to be an important aspect of Malaysian culture. Preserving cultural heritage through Seni Tekat is a way of ensuring that the tradition does not disappear with time. Seni Tekat is an important part of Malaysian culture, and it must be preserved for future generations. Seni tekat can be used in several ways to ensure that the tradition continues to thrive. By creating Kerongsang Tok design using seni tekat motifs, and incorporating it into modern designs, the art of knotting can remain an integral part of Malaysian culture for years to come. The most important objectives of this research are to create an innovative source of inspiration for the Kerongsang Tok design and to preserve the Malay heritage of culture via the new design of Kerongsang Tok inspiration. The ideation process, which has a direct relationship to the fundamentals of Kerongsang Tok design, forms the basis of this design research. The process of creation starts with the design of the Kerongsang Tok, which is developed incorporating Malay patterns to complement its new source of inspiration. A survey has been conducted to determine which design is the best, with input from academics, students, goldsmiths, and jewellery designers. Based on the poll outcomes, an innovative inspiration for the Kerongsang Tok design was created. This study will help to preserve Malaysia's legacy, provide an educational resource for future generations, and promote an awareness of our unique cultural heritage.

National Character and State Defense Based on Local Tapis Lampung Culture as an Effort to Strengthen National Identity

Indonesia, with a diverse population of many ethnic groups and rich cultural heritage, is a global, non-competitive multicultural country. Like the variety of flowers in this country's gardens, Indonesia's mosaic of cultures and beliefs is also diverse. Indonesia's rich cultural diversity attracts tourists and is a source of innovation for creative industries. In an effort to fortify Indonesian nationalism, this research aims to display handmade art works by Tapis Lampung. The research methodology used is qualitative using descriptive literature study methodology. Based on research findings, Tapis Lampung is a type of traditional textile that is embroidered with decorative sugi designs using cotton thread and silver or gold thread. The Lampung indigenous people store their life values and character in this Tapis cloth, which is also used in various traditional, religious and wedding events. One of the characteristics of Indonesian society is the Tapis Lampung cloth which is widely sold both domestically and internationally. Tapis Lampung is a cultural achievement of the Lampung people, according to examination from various sources.

Comprehensive Analysis of Gold Threads as Decor Elements in Medieval Textiles Using Electron and Ion Beams, and Energy-Dispersive X-Ray Analysis

Comprehensive Analysis of Gold Threads as Decor Elements in Medieval Textiles Using Electron and Ion Beams, and Energy-Dispersive X-Ray Analysis

Exploring the provenance of a Byzantine excavated assemblage of textile and leather finds by the application of instrumental analysis

Stereomicroscopy, Scanning Electron Microscopy-Energy Dispersive Spectroscopy (SEM–EDS), Fourier Transform Infrared spectroscopy with Attenuated Total Reflectance probe (FTIR-ATR), High Performance Liquid Chromatography with a Photodiode Array system (HPLC–PDA), X-ray Fluorescence spectroscopy (XRF), Zooarchaeology by Mass Spectrometry (ZooMS), and 14C dating were applied to an assemblage of textile and leather fragments that belong to the collection of the Byzantine & Christian Museum of Athens in Greece and lacked inventory information.The analyses applied, along with bibliographical research, yielded information on the materials, techniques and provenance of the find. The assemblage of finds consists of a gold thread embroidered silk satin, dyed with shellfish-purple; a gold strip-drawn wire embroidered silk tabby; a gold strip-drawn wire and red silk thread tapestry; a gold-thread embroidery on a tabby background; fragments of braided cord; and leather fragments. The material components could have been produced locally, in the area of the Byzantine Empire, though some of them indicate connections with India and/or China. The assemblage, dated between the mid AD 10th and mid eleventh century, was probably found in 1924 by Andreas Xygopoulos during the excavation of a tomb inside the church of Agia Sophia in Thessaloniki, Greece.

Understanding Gold Textiles: Case Studies of Gold Threads from the Bronze Age and Antiquity in Europe

The production of textiles, in terms of weaving techniques, has a long history in Europe, and dates back to the Stone Age, the time during which the first farming communities arrived in the Mediterranean and Central Europe, in the 7th/6th millennium BC. The first evidence of textile tools, like spindle whorls and loom weights, demonstrate that people made an important step forward in mechanizing this craft, not only twisting fibers and interlacing strands purely by hand, but also inventing tools to increase efficiency. Through the development of textile techniques, we see the unleashing of enormous creative power that stimulated even more advanced techniques to create specific structures and patterns — these still form an important part of our European cultural heritage, which was also studied with the COST Action Euro Web. As an example, the art of blue dyeing has been listed by UNESCO as an example of Intangible Heritage in Austria, Slovenia, Czech Republic, and Slovakia since 2018;1 all over the world, different techniques have been awarded Textile Intangible Cultural Heritage status.2 To preserve craft knowledge for the future, it is important to understand details on ancient weaving techniques. This knowledge might not only be used for research and science communication, but also could potentially be integrated into the daily lives of modern people. The case studies presented here will centre on the incorporation of gold threads into textiles, a method of decoration which has been found across different time periods and areas in Europe and the Mediterranean.3 In this contribution, we focus on Late Bronze Age contexts, like Ebreichsdorf and Vösendorf in Austria and Óbuda in Hungary, as well as others from the Roman Period, such as Pompeii, Herculaneum, and Oplantis in Italy. Reconstructing textiles from European archaeological contexts that are thousands of years old is a demanding task. Contrary to other parts of the world, the environmental conditions in most areas of Europe are not conducive to the preservation of organic remains in general, and textile materials in particular.4 In fact, and while exceptions do exist (see below), direct evidence for the textile component of the material worlds of prehistoric and ancient Europe is, for the most part, fragmentary and incomplete. This being said, there are several different strands of evidence that can be used to achieve empirically grounded scientific reconstructions of the types of textiles used during this period across Europe. The main sources for such reconstructions can be divided into several categories: Archaeological sources (textiles and their scientific analysis, tools); iconographic sources; written sources; ethnographic/folkloristic evidence; and experimental archaeology.

Lace in Croatia – Tradition and Sustainable Development

On the UNESCO list of intangible cultural heritage in Croatia, art has taken its place, respectively the skill of textile handicrafts, better known as lacemaking, which rests on preservation, promotion and sustainability tradition. Consequently, sustainable development is based on an integrated, comprehensive approach to economic, ecological and social values through the natural, social and human sciences. Interweaving threads using a needle or a stick forms a characteristic shape of textile activity that requires exceptional calmness, patience, precision and specific work of hands whose product is a handicraft called lace. This work aims to explore and compare the role and purpose of Croatian lace in the past and today to raise awareness of tradition and the value that Croatian lace still carries today. The lace tradition in Croatia has been nurtured for centuries, especially in smaller rural areas where women have woven their traces in the rich history of folk art by making lace. Silk, cotton, linen, silver and gold threads form a hollow work worthy of admiration. With their technological and artistic characteristics, lace works are not only an integral part of the culture of the community but also an indicator of artistic creativity in Croatia.

The Training 3 in 1 Making Fashion Embellishment with Hand Sewing Tools Batch-X (Gold Thread Embroidery) in Balai Diklat Industri Padang

This research is written based on the 3 in 1 Training for Making Fashion Embellishments with Hand Sewing Tools Batch X (Gold Thread Embroidery) which aims to improve skills and create jobs in the field of embroidery and fashion aimed at people who need training so that the skills they have can be officially recognized in the form of certificates. The purpose of this study is to describe the implementation process of the Training 3 in 1 Making Fashion Embellishments with Hand Sewing Tools Batch X (Gold Thread Embroidery) in conducting training. This research uses a qualitative approach, with a case study research method. The data sources in this study are the Head of the Training Organizer as the research subject and the head of the training, instructors and participants as research informants. The data collection techniques used were observation, interviews and documentation. The data analysis techniques used are data reduction, data presentation and drawing conclusions. Data validity techniques are using source triangulation, technique triangulation, and time triangulation. The results showed that the skills training process starts from 1) Planning; 2) Implementation; 3) Assistance; and 4) Evaluation.

Fostering creativity and cultural bonds: revitalizing kasab crafts through arts education and community engagement in West Aceh, Indonesia

This study aims to examine the school's efforts in introducing and preserving Kasab in West Aceh through art education and community collaboration. Kasab is gold thread embroidery on velvet cloth which is widely used in Acehnese weddings as a cultural product. Kasab was introduced to art education at the West Aceh High School through arts and culture subjects. This study used a qualitative approach. The research was conducted in five high schools in West Aceh District, Indonesia. Data collection techniques were carried out through interviews with students, teachers who teach arts and culture, and Kasab craftsmen. In addition, observations were also conducted to observe the collaborative learning process of the community and teachers, as well as literature studies on community collaboration and art education in the field of crafts. The results of the study show that collaborative art education in schools and communities regarding the introduction and process of making Kasab crafts is taught in the fine arts course, which begins with making decorative motifs. Next, the Kasab crafts were embroidered with gold thread. Students and teachers performed field studies at the Kasab craftsmen's place to observe the process of making Kasab. Later on, the students practice making Kasab at school, guided by the teacher and Kasab craftsmen. This activity is very important to be performed in every high school as an effort to preserve the Kasab craft in the West Aceh district.

PRESERVING THE TRADITION OF KASAB CRAFT IN NAGAN RAYA DISTRICT

Kasab or kasab cloth, is a traditional textile embroidered with various types of local motifs in Keude Blang Village, Seunagan Timur District, Nagan Raya Regency, Aceh. However, the cultural richness of this society has never been scientifically researched. Therefore, the purpose of this study was to find out the types of motifs and the preservation of objects by the community and local government in that area. This is qualitative research, data collection involved observation, interviewing, and documentation. The results showed that kasab is one of the traditions for embroidering motifs on traditional textile surfaces. The use of gold thread in the components of traditional ceremonies not only provides aesthetic value, but also complements the meaning conveyed through symbols as a medium of public communication. The kasab motifs that are always embroidered in the Keude Blang Ara Village community include the bungong uret, bungong meulu, bungong pucuk pakis, and pucuk rembong (bamboo flower) motifs. Kasab preservation in Keude Blang Ara Village continues to be carried out by the local community and supported by the government. Preserving local culture (kasab) involves creating dynamic expressions and adapting to changing developmental situations to preserve cultural, artistic, and traditional qualities. However, with the support of the government, kasab has become something interesting, so that nowadays the demand for producing kasab is increasing.

A "Gold Standard" in the Management of Arthritis.

Hand radiographs show gold thread used as part of acupuncture treatment for arthritis.

Funerary Artifacts from Roman Ashkelon and the Rockefeller Collections

ABSTRACTIn 2019, an excavation carried out at the site of Er-Rasm, located ca. 2 km southeast of Tel Ashkelon, revealed evidence of a cemetery of the second to mid-fourth century CE in an area that was built over by a monastic community in the fifth century CE. The finds from the cemetery, a lead coffin decorated with vine scrolls and birds in repeating panels and associated artifacts such as gold threads, are comparable to those unearthed in the same general area in 1926 at Khirbet Khasis, as well as to other lead coffins found in Jerusalem and Ashdod-Yam. In addition, parts of a marble sarcophagus with carved features were discovered at Er-Rasm. These features indicate that the sarcophagus was carved with the scene of the abduction of Persephone, just like the complete example uncovered elsewhere in Ashkelon in 1972.

Decorative Decorations in Gold Thread Shown on Aisles and Women's Bride Clothes in Naras, Pariaman City

An overview of the characteristics of motif design, including motif design, decorative patterns, placement of motifs, color combinations, and gold thread embroidery techniques on wedding dresses and aisles in Naras Kota Pariaman, is presented in this study. The method used is descriptive qualitative with the main data needed in the form of primary data and secondary data. Data were collected through observation, interview, and documentation techniques. Data analysis was carried out through data reduction, data presentation, and drawing conclusions. To get the validity of the data obtained through triangulation. The results of this study are 1) The design characteristics of the motifs used in gold thread embroidery products sourced from nature (naturalists) are clam flowers which are stilasid into ornamental shapes, other motifs used are roses, jasmine flowers, orchids, kaladi leaves, sunflowers, kaluak paku, animal motifs such as lions and peacocks. The decorative patterns used include standing edge decorative patterns, climbing edge decorative patterns, roadside decorative patterns, hanging edge decorative patterns, rectangular fillings, triangular field fillings, and sowing patterns. The placement of motifs on the wedding dress includes the neck, sleeves, bottom of the shirt, the back of the shirt, tokah, while on the aisle the placement of gold thread embroidery motifs on banta gadang, lansia, tabia, lidah-lidah, ondas-ondas, angkin, and Dalamak. 2) The color combination in this embroidery product uses a primary base color, and a combination of neutral colors, monochromatic color combinations, and complementary color combinations. 3) The gold thread embroidery technique used is first to prepare the tools and materials, make the motif on paper/directly on the cloth, trace the motif, embroider the motif using gold or silver thread and then wrap it with ordinary thread using the sewing technique , then done. The materials used for wedding dresses are satin, velvet, and bridal, while for the aisle the materials are satin and velvet used

Fabric from the Collection of Finds of the 13th–14th Centuries Found in the Tunka Valley (Republic of Buryatia)

Collection No. 192 is kept in the Irkutsk regional museum of local history. There is no documentation for the collection. Most of the items in the collection date back to 13th – 14th centuries. They are probably the accompaniments to burials excavated by B.E. Petri in the middle of 20s of 20th century in the Tunka valley on the Mondy 1 burial ground. The collection includes two fragments of silk fabric. On one of them, a leaf with a complicated edge is woven with gold threads, on the other – a parrot sitting on a peony shrub. It can be assumed that the first fragment is part of a ceremonial robe. The second fragment could have been part of boots, a handbag, or a large robe trimmed with fur. A silk headscarf with parrots and peonies embroidered with gold threads, similar to images from collection No. 192, was found in burial No. 6 of the Nogoon Gozgor 1 burial ground on the northern shore of Lake Khovsgol in Mongolia. Based on AMS14С dating, this burial, like Mondy 1, is dated to 14th century.

The Risk of Applying Moving Cupping Therapy to A Patient with Chronic Lumbar Pain Previously Treated with Gold Thread Therapy

Gold thread therapy (GTT) continuously stimulates acupoints and is used to treat chronic conditions/diseases such as chronic lumbar pain. During the procedure gold thread is embedded into the skin and although gold thread is medically pure, GTT is an irreversible treatment where there is limited evidence on its safety. Here, we report a case of a 79-year-old woman being treated for low back pain who developed side effects following moving cupping therapy at a site of GTT (performed in the 1970s). Adverse reactions causing radiating pain persisted more than at least 9 days following moving cupping therapy. The symptoms of pain were evaluated using the numerical rating scale, and changes in tenderness and the state of bruising was recorded. Low back pain improved but the radiating low leg pain did not improve. This case highlights the need for caution when performing moving cupping therapy where GTT has been previously performed.

Unusual worm-like radiopacities in the radiographs of patients with cervical spondylosis

This report describes three patients with cervical spondylosis whose diagnostic radiographs showed worm-like, irregularly curved radiopaque lines and strings in the head and neck region during routine chiropractic examinations. Such artifacts are frequently misinterpreted as parasitic infection, electrostatic discharges, detector image lag, fracture, or ligature wires. All three patients with worm-like radiopacities disclosed their 15-20 years of history of acupuncture treatment to relieve neck pain. The present cases of unexpected and coincidental findings may suggest a possible acupuncture-caused radiographic artifacts in the neck and jaw bones. In particular, the patient had previous gold thread treatments possibly associated with the observed radiographic artifacts. These cases may emphasize the importance of having a thorough understanding of patient history regarding unexpected radiographic artifacts.

A Brief Look at the Creation of the Relief Society Sesquicentennial Exhibit at the Church Museum

A Brief Look at the Creation of the Relief Society Sesquicentennial Exhibit at the Church Museum

강릉자수를 활용한 문화상품 개발에 관한 연구

This study aims to develop cultural goods using the images of Gangneung embroidery relics to transmit and develop traditional craft culture and unique cultural goods of Gangneung. This study examines the formative characteristics of Gangneung embroidery and analyzes the relics of Gangneung embroidery. Based on the analysis result, the motif was digitally printed on 100% silk and polyester fabric to produce various cultural goods. Most of the outer fabric of Gangneung Subo was made of cotton, which was widely produced or imported in the 19th century, and silk was used as the lining. Gangneung embroidery is characterized by a technique in which the surface is laid flat and the rim is collected with gold thread. The embroidery pattern was created using trees and birds as motifs as original patterns by analyzing the materials of Gangneung embroidery with colored thread, in the Gangneung Embroidery Museum. The motif of trees and birds was simplified and symmetrically or repeatedly arranged. In abstract and geometric patterns, Gangneung Subo is unique cultural contents of Gangneung. Cultural goods were developed using the gorgeous red, green, and yellow colors used in Gangneung embroidery and black, white, grayish sky blue, and off-white, which contemporary society prefers. Scarves, masks, cleaning cloths, cushions, foldable bags, eco bags, pouches, and smart tokes have been developed and produced in various ways as cultural goods. In particular, by using digital textile printing with Gangneung embroidery motifs through illustration work, various products can be easily produced and popularized by lowering the unit price of cultural goods. Using Gangneung embroidery to develop various products suitable for a contemporary style and produce excellent cultural products with shapes, colors, materials, and designs, the traditional craft culture can be transmitted and developed. Furthermore, it will be possible to promote Gangneung

School organisers’ expression on the expansion of the access and application of digital technologies in educational systems

PurposeThis paper is aimed at describing and analysing what school organisers express when they network to expand the access and application of digital technologies in educational systems. Digital technologies develop rapidly in society, creating challenges and opportunities in people’s lives. Schools have an important task: to prepare young people for a future permeated by digital technology.Design/methodology/approachParticipant observations and semi-structured interviews were used to describe and analyse how school organisers describe digitalisation work in the educational system.FindingsThe findings show that school organisers describe digital competence and providing support to schools as being important for expanding the access and application of digital technologies in the educational system. They also talk about equality connected to digitalisation work, changes in organisations, the importance of a holistic perspective, and a gold thread. They furthermore explain that networks, a sharing culture, good relations, and good communication enable digitalisation work. In addition, they point out that the lack of time, attitudes towards digital technologies, the lack of digital competence, and resistance to change are some of the constraints for digital technologies in the educational system.Practical implicationsSchool organisers need to implement digitalisation policies, which can be problematic because they work strategically to support operational activities.Originality/valueThis paper contributes knowledge about school organisers’ work to expand the access and application of digital technologies in the educational system.