Even if many imagine that the order of the village world has remained unchanged since ancient times, we must be aware that the Romanian folk costume is, and has been, in a continuous change, always influenced by the city fashion. This phenomenon is more prevalent in Transylvania and Banat, regions where Western influence has been stronger. This paper focuses on Banat, an area where several cultures met, cultures that influenced each other.

Abstract It has been hypothesized that biofluorescence is a trait linked to intraspecific signaling in many taxa, especially those with enhanced modes of conspecific signaling in complex habitats. Chameleons possess bone‐based fluorescent tubercles (FTs) on their head ornaments that purportedly facilitate intraspecific signaling. We investigated the hypothesis that dwarf chameleons (Bradypodion) use biofluorescence for signaling by testing if the number of FTs associated with their ornaments can be explained by sexual dimorphism or ecological variation in five species from various habitats (i.e. fynbos, Afrotemperate forest, and shrublands). If the trait is used for signaling, we would expect males to have more FTs than females due to sexual selection, and/or forest species/populations to have more FTs than open‐habitat species/populations via natural selection because forests are expected to be the most conducive terrestrial environment for fluorescent signals. Our results revealed that the number of FTs was greater for the larger sex (regardless of the direction of size dimorphism) but was not significantly different between sexes when adjusted for body size or head area. Forest species had more FTs than smaller‐bodied fynbos species but fewer than the large‐bodied shrublands species in absolute number, but there were no differences in FTs across species from different habitats when corrected for size and phylogeny. Moreover, there were no differences in FTs between natural and urban populations when correcting for body or head size. These findings suggest that larger‐bodied species have more FTs than smaller‐bodied species regardless of the conduciveness of their habitats toward facilitating biofluorescence. Therefore, FT trait magnitude is likely explained best by chameleon size rather than natural or sexual selection for increased signaling capability between sexes, species, or populations. We interpret these findings to suggest that it is unlikely that Bradypodion use biofluorescence as a signaling mechanism.

New Findings of Bronze Nail-Shaped Head Ornaments from Western Carpathians

The note presents a hoard of copper artifacts recently discovered in Eastern Romania, dating back to the first half of the second millennium BC. It consists of 14 metal adornments: two neck‑rings and two bracelets made of thick wire, two double‑wired open bracelets, six double‑wired head ornaments, a decorated disk and an indeterminate fragmentary item – possibly a needle. Most likely, the ensemble as a whole is a Central European import; good correspondents are to be found in Nitra and Únetiče, cultural environments. The paper also discusses the origin, chronology and significance of this hoard, within the context of the Middle Bronze Age in Eastern Romania.

This study deals with the findings of appliqués made of precious metals from the sites of the Vekerzug culture in Eastern Hungary and Southwestern Slovakia. Except for one hoard, the appliqués come from ten graves. Providing a more complex overview of these findings was at the center of our interest, focusing mainly on cultural and spatial analysis, their possible relation to specific gender or age categories of the burial individuals, and the importance of the appliqués for the costumes of the Vekerzug culture. All of their variants are unique to the Vekerzug culture and have no analogies in the neighboring regions, including the East European steppes and forest-steppes. Most of the appliqués in the Vekerzug culture are dated to the Late Hallstatt period or the Early La Tène period. The appliqués were found in the graves of adult females. Their costumes do not differ from the female costumes of the Vekerzug culture without appliqués. Most of the appliqués were found in richly furnished female graves, some of which are among the richest in the Vekerzug culture. Additionally, other objects made of precious metals in the Vekerzug culture, such as head ornaments and beads, were almost exclusively reserved for women.

The object of the study is the cap of the Chinese Orochon tradition. The subject of the study is the head decoration of Chinese orochons made of goat skin. The article discusses the main types of caps and their structural features and production technology. Orochons make a special headdress from the head skin of a roe deer, which demonstrates the gender and status of the person wearing this decoration. The Orochon hat belongs to traditional Chinese clothing and serves as one of the indicators of this nation. Against the background of globalization, the culture and aesthetic thinking of Orochon art provide rich ideological sources and practical directions for the development of aesthetics and art of the world. The purpose of the study is the characteristics of traditional Orochon headdresses, the symbolic meaning of headdresses and the importance of animal skin headdresses. This article uses such research methods as the method of literature analysis, the method of investigation and research documentary interview and examines the art of Orochon head ornaments. Thus, we can lead to the following conclusion: the traditional Orochon head decoration is an important component of the Chinese and world culture of the art of head jewelry. Orochon head jewelry in its long history of development has acquired an elegant and attractive appearance and exquisite workmanship. Chinese researchers pay more attention to the aesthetic and ethnological studies of these products, which has created great theoretical value for us and provides a strong reference basis. The novelty of the article lies in the distribution of symbolic meanings and artistic features of Orochon head ornaments, in particular, their hats. The history of their development and cultural connotation are systematically analyzed, the description and communication of artistic features and symbolic meanings are carried out.

The purpose of this final project is to create digital paintings with ideas sourced from the Tingkuluak of Payakumbuh. Tingkuluak is a head ornamentation worn on wrapped cloth, typically by Minangkabau women. The existence of Tingkuluak is fading, and its significance is largely unknown. Limited information is available regarding its use, meaning, and philosophical explanations. Hence, this final project aims to present the Tingkuluak cultural heritage through digital paintings, with the main subject being the Tingkuluak itself. The creation method involves five stages: preparation, which includes observation; followed by in-depth analysis, referred to as elaboration; then the synthetic stage involving idea formulation and concept realization. The author utilized the Ibis Paint X application accessed through a tablet device for the creation process. The author produced 10 digital artworks with the following titles: "Uni Bakompong Koto Nan Ampek," "Uni Bakompong Koto Nan Gadang," "Mintuo Nan Alah Baminantu Jo nan Bukan," "Manjapuik Minantu," "Jan Digaduah," "Bundo nan Taat," "Gadih Ikek," "Duo Koto," and "Bundo Si Anak Daro."

This work creation was inspired by the shape of Kinatah Nagasasra, a name of dhapur (physical form) of a Kris. Such a dapur is characterized by the presence of decoration in the form of dragon as a Kinatah on the surface of the Kris blade. The characteristics of Nagasasra are having a kinatah in the form of crowned dragon, having a thousand scales on its body, and having a jamang (head ornament worn on the forehead). This Kris blade has visual meaning in the form of symbols representing characteristics of a leader. This study aims at exploring and stylizing the shape of Kinatah Nagasasra and using it in creating handmade batik on the casual wear. The creation of this work employed the art creation method by collecting data from literature as well as previous designs and embodiments. Handmade batiks technique was used in the creation process by using primissima cotton fabric and remasol (coloring matter) as raw materials. Handmade batik technique that is used is dipping technique. The color chosen is the color preferred by consumers aged 18-35 years. The resulting work consists of four dresses and is entitled UPANGGA RADMILA. Each of dress has also its own title, namely PANDITA, PARAHITA, PRABALA, PRASANTI. The designers hope that this work can help to socialize good characteristics of leader through symbols in it. The characteristics consists of prioritizing the welfare of members, the awareness that power is a trust, being able to protect and prosper members, and being a role model to the members.

Chinese Coins from the Early Medieval Cemetery Gorny-10, Northern Altai

The study focuses on metal details of headdresses of the Early Metals period (V—III mill. BC) from the Middle Eastern sites of the Late Chalcolithic and Bronze Age. The paper aims at clarifying the place and role of this group of material in development of social relations in the epochs of late prehistory and formation of early urban and early state societies. The author applies the comparative typological method and presents an overview of metal headdresses. Special attention is paid to the context of finds, which originate mostly from burial sites. The classification of diadems is based on the morphological principle. The earliest T-shaped diadems are known from the Balkan Chalcolithic, where they represent strictly local phenomenon. Long headbands appear in the Near East at the turn of V and IV mill. BC. In III mill. BC other types of head ornaments are worked out, such as oval and rhomboid frontlets and complex constructions. Some stable traditions in their construction and symbolism are traced. The finds are considered as markers of prestige and elevated social position, which is related to formation of elite groups. The ceremonial headdresses of local leaders demonstrated the hierarchical structure of the society. The religious symbolism of headdresses, in particular floral motifs, is considered in association with the idea of importance of the elite and its ritual activities aimed at preserving stability of the universe, community well-being and stimulating production.

Mass Christianization of the peoples of Yakutia (Eastern Siberia) at the end of the 18th century led to the development of a demotic Christianity throughout the 19th century. There were new rules, according to which a woman was not permitted to appear in public with her head uncovered, and therefore the marking function of the hairstyles became obsolete. This could explain the absence of rituals and rules associated with women’s hair and hairstyles in the Yakut culture of the 19th–20th centuries. The aim of this study is to prove a hypothesis, according to which pendants of hair ornamentation duplicate braids, and studying the pendants of the headrest ‘nachel’nik’ allows recreation of women’s hairstyle that had been in use before the period of mass Christianization. The article is based on the analysis of written, material, and visual sources of the 18th–19th centuries. Information about the hairstyles and adornments of the Yakuts is contained within the records of travelers of the 18th–19th centuries. Among the ethnographic works on the peoples of Siberia, one can find drawings depicting maidens and women, where particular attention is given to their hair. These materials were correlated with the data of the archaeological excavations of Yakut female burials of the 18th century. The obtained results were compared with the materials from the 19th century — photographs of women in national costumes and jewelry from museum collections. According to the results of the study, it can be stated that there was a tradition of changing maiden’s hairstyle to woman’s hairstyle in the context of the wedding ritualism. New rules of conduct, social roles, especially regulations on the appearance of women, were formalized in the society in the 19th century with the mass Christianization of the peoples of Yakutia. There were new rules, according to which a woman was not permitted to appear in public with her head uncovered, and therefore the marking function of hairstyles became obsolete. This could explain the absence of rituals and rules associated with women’s hair and hairstyles in the Yakut culture of the 19th–20th centuries.

The author analyzes the find of a new clay figurine of the Serezliіvka type at the Maikop culture settlement «Chekon» in the Kuban region. This find can be compared with figurines from burials of the Late Eneolithic in the interfluve of the Dnieper and the Southern Bug rivers. 25 figurines in 10 burials were found in this region. One figurine is known from the Trypillia settlement of Sandraki on the Southern Bug river (period Trypillia C/II). Two figurines are known in the burial on the Black Sea coast and one another in the Crimea.
 Figurines of the Serzliivka type are typical for the local Dnieper-Bug cultural group of the Late Eneolithic. This local group is characterized by features of the Lower Mikhailivka and Kvitiana cultures, as well as elements of the Latest Trypillia. The character of the clay of the statues is very close to the Tripolye ceramics and is not typical for the steppe ceramic traditions.
 The figurines have three form options in the design of the head and specific ornamentation of the drawn lines. The author notes the special features in the form, ornament and technology of making a figurine from the settlement «Chekon» in comparison with the Dnieper-Bug region. This figurine is an imitation of «classic» figurines from region between the Dnieper and Southern Bug rivers. The mobile population, which left on the territory of the Black Sea steppe burials of the Zhyvotylivka-Vovchansk type, could be the mediators in the emergence of this type of anthropomorphic sculpture so far from the main zone of its distribution. In this context, it is very important to note that ceramic products were found in the settlement, analogies of which are known in the settlements of Trypillia C/II. These artefakts from the settlement are important for the development of the concept of coexistence of the steppe population of the Late Eneolithic in the context of the development of agricultural societies.

In the period of the X-XIII centuries, among certain groups of the Finno-Ugric population, head ornaments in the shape of the moon were widely used. Among them are a group of silver products made decorated with gilding, triangles of granules, rows of filigree wires, and, often, inserts of stones or glass and beads strung on the sides of the shackle. Techniques and methods of their production are considered. Techniques and methods of decorating products are considered. The product distribution areas are also highlighted. This is the Vetluzhsko-Vyatka territory, the territories of the Northern and Middle Urals, Trans-Urals and Western Siberia. Two centers of their production are allocated. The first in the Udmurt Urals. The second in the Permian Urals. Each had its own characteristics: in form, manufacture and decoration. However, their products are united by a single design style. Also, their products are united by common technical techniques. This indicates the common roots of the origin of jewelry traditions. This also indicates a high level of development of the jewelry craft.

Jewelry is main aspect of dressing and Mughal Jewelry is a fascinating theme to explore. Its styles can be traced through the paintings that clearly give accurate information of the style and variety of ornaments that were used during the seventeenth and eighteenth centuries. Jewelry is considered the feminine adornment part but miniature shows the beautiful ornamentation of Mughal emperors also with variation in sizes and design. This article discusses the Mughal male head ornaments and study is focused on the turban ornamentations. As man’s turban is his sacrosanct property and variety of turban ornaments were used by Mughals. This paper is an attempt to understand and examine that how the Mughal turban ornament develops from simple feather to piece of complex jewelry designs and how other culture helps in its development. Why Mughal emperors worn such gemstones in headdress and which techniques were used for its decoration? Is there any specific reason of using such gemstones or just for ornamentations purposes? In the end it concludes that sarpech shapes helps in the development of European aigrette and became a part of European jewelry that later helped in the modification of turban ornaments and Euro-Indian sarpech-aigrette appeared with more delicate style.

Статтю присвячено історії вивчення, а також аналізу ступеня вивченості жіночого металевого вбрання (костюма) культури смоленсько-полоцьких довгих курганів, яку прийнято ототожнювати з літописними кривичами. Автор проаналізував низку наукових публікацій, на основі яких було зроблено висновок про те, що цілеспрямоване вивчення цього питання почалось з 1960-х р. У вивченні жіночого ювелірного убору кривичів можна виокремити три періоди. Перший період (1960-ті – початок 1990-х рр.) характеризується поступовим відходом від сприйняття жіночого убору «культури довгих курганів» тільки як джерела: убір став предметом дослідження. Другий період (1990-ті – 2017 рр.) характеризується цілеспрямованим вивченням жіночого убору в рамках поняття культури смоленсько-полоцьких довгих курганів (КСПДК). У цей час виникають досить детальні типології окремих елементів жіночого убору КСПДК. З 2017 р. починається третій період (2017 рік – наш час). Він виділений на основі виявлених безкурганних поховань КСПДК, у яких трапляються нові «нетипові» жіночі прикраси. Це спонукало дослідників до переосмислення традицій поховального обряду та характерних елементів жіночого убору кривичів. Серед основних дослідників можна назвати імена Є. А. Шмідта, В. В. Сєдова, В. В. Єнукова, В. С. Нєфьодова. За результатами багаторічних досліджень було виділено речі, які виступають як «культурні маркери», запропоновано типології та хронологію окремих елементів жіночого металевого вбрання: скроневих кілець, головних вінець, тримачів. Встановлено, що при дослідженні жіночого ювелірного вбрання культури смоленсько-полоцьких довгих курганів переважає «мікрорегіональний підхід»: типології інвентарю переважно базуються на матеріалах смоленської частини ареалу культури. Отже, існує «розрив» у рівні вивченості жіночого металевого вбрання між російськими та білоруськими дослідниками: на території Білорусі вивчення його локальних особливостей та хронології тільки почалось.

In the article, the author aims to consider the medieval Mari head ornaments. The work is based on burials materials of end of the XI – XIII centuries (Vyzhumsky II, Vyzhumsky III, Pochinkovsky, Rutkinsky, Dubovsky). Here is an overview of the elements of headgear, earrings and temporal rings, typology being developed, local and imported products are identified, assumptions are being made about the ways in which imported jewelry arrives, determined by analogy with the materials of other territories and the period of their use. Earlier, these problems studied in a number of works (by G.A. Arkhipov, T.B. Nikitina), but they were not a separate study. The article is accompanied by illustrative material – drawings of the considered things. The novelty of the research is determined by the weak scrutiny of the topic considered. В статье автор ставит цель рассмотреть средневековые марийские украшения головы. Работа основана на материалах могильников конца XI–XIII вв. (Выжумский II, Выжумский III, Починковский, Руткинский, Дубовский). Здесь дается обзор элементов головного убора, серег и височных колец, разрабатывается их типология, выявляются местные и привозные изделия, делаются предположения о путях поступления привозных украшений, определяются аналогии с материалами других территорий и период их использования. Ранее эти проблемы изучались в работах ряда исследователей (Г. А. Архипов, Т. Б. Никитина), но они не являлись предметом отдельного исследования. Статья сопровождается иллюстративным материалом – прорисовками рассмотренных вещей. Новизна исследования определяется слабой изученностью рассмотренной темы.

Abstract Jewellery occupied an important place in the various life stages of Central Asian women. Individual jewels that formed sets depending on which parts of the body they were worn on had in a steady form and a particular meaning in the past. Most of the items of jewellery were designed to decorate the upper half of the body, and among the most numerous sets there was a set of head ornaments. These were mainly various types of diadems, paired and individual pendants that were attached to the headdress or to the hair and, last but not least, earrings of various shapes and sizes. The collections of the Náprstek Museum of Asian, African and American Cultures feature a set of head ornaments from Uzbekistan dating back to the late 19th and early 20th century when the jeweller’s creations of the region were still of high quality. The set is represented by jewellery of three local styles – Samarkand, Bukhara and Tashkent.

Birds obtained by embryo engineering are used to study embryo development and to produce transgenic birds. As this method of producing birds still generate strong emotions of the public opinion head ornaments, testes and semen characteristics of sex chimera roosters were examined to check whether they differ from chickens obtained by non-manipulated methods. Measurements of head ornaments, testes and semen were correlated with each other. Semen quality factor (SQF) was calculated, as well as the level of fluctuating asymmetry (FA) of bilateral traits (wattles and testes). Positive correlation was found for comb width and wattle length and comb thickness and sperm concentration. Semen characteristics and FA did not exceed the level encounter in other chicken lines. Results obtained indicate that germline chimeras are similar in appearance of secondary sexual traits, and semen and testes characteristics to chickens produced in non-manipulated way.

Abstract It is widely practiced that before mating the roosters are selected as reproducers mainly on the basis of head ornaments appearance. Relationship between males secondary sexual traits (comb and wattles) with testes size, as all of them are testosterone-dependent traits, were examined. Measurements of head ornaments and testes from two broiler breeder lines and two laying lines of chicken were correlated. The value of fluctuating asymmetry (FA) of bilateral traits was also measured. Positive correlations were found for head ornaments and testes weight in one of broiler breeder lines. No correlations were found for males of laying lines. The degree of FA did not differ between lines, except for FA of wattle length, which was higher (P≤0.05) for one of the broiler lines. Results obtained indicated that head ornaments cannot be used as the only criterion for rooster selection as reproducers.

Turtles are among the most intriguing amniotes but their communication and signaling have rarely been studied. Traditionally, they have been seen as basically just silent armored ‘walking stones’ with complex physiology but no altruism, maternal care, or aesthetic perception. Recently, however, we have witnessed a radical change in the perception of turtle behavioral and cognitive skills. In our study, we start by reviewing some recent findings pertaining to various highly developed behavioral and cognitive patterns with special emphasis on turtles. Then we focus on freshwater turtles and use data about their sexual behavior and size sexual dimorphism (SSD) to test whether conspicuous coloration of the head is in these animals related to sexual processes. We found that absence of aggressive mating behavior is statistically associated with the presence of conspicuous coloration on turtles’ heads. It also seems that while species with female-biased SSD are characterised by conspicuously colored head ornaments, in species with male-biased SSD conspicuous coloration is absent. Unlike large females, males thus seem to be under pressure to develop conspicuous coloration and engage in non-aggressive behavior using signaling to succeed in courtship. And finally, we discuss possible roles of head color patterns in turtle communication during mating.