Jewellery Collection Research Articles

All That Glitters May Not Be Gold: Tanishq AD Controversy

Advertisements creating controversies and resulting in brands being subjected to intense criticism is not uncommon in the age of social media. India’s largest jewelry retail brand, Tanishq, too became a victim of one such controversy in 2020. On October 9, 2020, Tanishq, a division of the Titan Company and a part of Tata group, released an advertisement to promote its new line of jewelry collection called ‘Ekatvam’. The advertisement highlighted inter-faith marriage and showed how a loving Muslim mother-in-law respected the sentiments of her pregnant daughter-in-law’s Hindu faith by arranging for her baby shower according to Hindu rituals. Post the release of the advertisement, a vast number of protests broke out in the country and caused a stir. Prior to the ad release, around September 2020, news about love jihaad was doing the rounds in many parts of India. The stir led Tanishq to withdraw the advertisement with issuance of a statement by the company. In light of these developments, a number of questions were being raised. Was it correct on the part of the brand to remove the ad? Did the advertisement seem like a deliberate attempt to gain the attention of consumers? Could Tanishq have expected this controversy to occur given the history of a tense relationship between the two religions in the country? What could the brand do to avoid such controversies in the future?

Deepening the synergistic role of additive manufacturing and computational strategies in jewellery

This study investigates the synergy between additive manufacturing (AM) technologies and computational design strategies in jewellery and how that synergy can be successfully exploited to extend innovation in that field further. A case study called Ecdysis, a bioinspired jewellery collection, is presented. A dedicated computational algorithm has been developed and is described in detail. This algorithm allows for the exploitation of the shape and functional complexity dimensions allowed by AM and the control of the printability of the generated concept. Shape and functional complexity are exploited to mimic the beauty and dynamism of snakes’ slithering mechanism. At the same time, starting from the developed algorithm, multiple digital models and physical prototypes have been fabricated, leveraging material extrusion, vat photopolymerisation, and powder bed fusion processes. This further development step of the collection thus confirms the versatility of both the proposed approach and AM technologies for jewellery. Therefore, the paper demonstrates how unique wearing experiences can be created and how uniqueness can be simultaneously preserved and democratised in jewellery by deepening the synergy between AM technologies and computational strategies.

Provenance groups in a Roman jet jewelry collection at Aquincum (Budapest, Hungary) and comparison with jet and jet-like gemstones

Jet and jet-like gemstones are found in graves from the Neolithic, but they became particularly popular during the Bronze Age and the Roman period. To discover their provenance, several techniques were used to determine distinctions between organic materials and occurrences. The present study utilized a combination of Fourier Transform Infrared spectroscopic (FTIR) and stable isotope ratio analyses to compare a unique Copper Age black bead („Lelle bead”) with Roman period jet items from the Aquincum Museum’s collection and known jet samples from various locations (UK, Spain, Turkey). Visual and multivariate statistical analyses of FTIR spectra, combined with H%, C%, and stable hydrogen and carbon isotope ratio determinations enabled us to distinguish significant (p < 0.1) groups among the Aquincum collection: „Lelle-type” samples, „Whitby-type” jets, shales, and coals. Some gemstones were positively identified as Whitby jet, whereas some of the others were indistinguishable from the Lelle bead. This study shows that the coupled FTIR and stable isotope analyses can potentially be used to determine the provenance of archaeological artifacts.

Ювелирная коллекция Государственного музея искусств Республики Каракалпакстан имени И.В. Савицкого

This article provides information about the jewelry of the Karakalpak people in the collection of I.V. Savitsky State Museum of Arts of the Republic of Karakalpakstan. Karakalpak jewelry art is one of the brightest manifestations of the artistic culture of the people. Judging by the specimen preserved in the museum collections, they have much in common with the art of neighboring peoples in terms of names, pattern and form. Simultaneously, some Karakalpak jewelry has original ethnic and artistic features. The article presents all types of traditional Karakalpak jewelry dating back to the 19th – 20th centuries. Women’s jewelry are distinguished by notable features of originality and distinctive character, which testify to the existence of the Karakalpaks’ local school of jewelry art. The style of jewelry art of the Karakalpaks is characterized by integrity, monumentality, archaism of forms, clarity of contours, expressiveness and at the same time laconic decor. In the article, the author classifies the museum’s jewelry collection into the following categories: headdress ornaments; neck-chest ornaments; chest-waist ornaments, and ornaments for hands. The classification of women’s adornments of the Karakalpaks showed the undeniable wealth of their types, shapes and designs. In addition to the Karakalpak folk jewelry collection, information about the jewelry of the Uzbek, Turkmen and Kazakh peoples is also presented.

Aesthetics of Samarkand in Ilgiz Fazulzyanov’s Jewelry Art: Heritage as an Area of Creativity

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.

Malay Traditional Motifs Character in Jewellery Design

This study determines the traditional Malay motifs design that was discovered in the jewellery artefact collections from the National Museum Kuala Lumpur. The visit and support with the observation of the jewellery collection assisted in the process of digital compilation. Then the categorisation of types of jewellery was then divided into three categories of traditional accessories. The identification of motifs clearly showed how the formation of flora, fauna, abstract, cosmos and geometric characters was used and developed. This compilation of this study significantly sustains the tradition of this unique traditional precious metal heritage towards the contemporary design sources for future.

Female Jewelry of the Mongolian People in the Collection of the V. A. Obruchev Kyakhta Local Museum

This article examines the Mongolian female jewelry collection of the Kyakhta Local Museum amounting to almost a hundred and fifty items. The collection started with expeditions of the Russian Geographical Society in the early twentieth century and continued throughout the Soviet period when it was significantly enlarged with items from various regions of Buryatia. According to the museum’s documents, and most of the items are still unidentified, the collection consists of scattered items or their individual elements which need proper research and technical expertise. During their examination of the said items, the authors solve several problems, i.e. they analyse and describe the art piece, the semantics of the ornamentation, identify the scrambled elements and pieces of jewelry used in the traditional costume of the Buryat regions. The authors use the iconographic, iconological, and comparative methods. The full set of female jewelry for the Mongolian people adorns the head, the neck, the chest, the shoulders, the waist and both arms. The article only focuses on headpieces and items worn hanging from the temples all the way down to the chest. It includes the description of silver decorations used for the top of male and female hats, and techniques for their differentiation. The study attempts to attribute the jewelry to define its affiliation with a specific Buryat ethnic group, as different areas of Buryatia and Mongolia have their own variations and artistic identities expressed in the traditional costume of their tribes and families. The article describes three items of Mongolian female jewelry. The authors aim to continue the research by focusing on each group of female jewelry attire with reference to comparable material from different museums.

현대 패션에 나타난 광대의 표현특성과 디자인 연구 : 광대의 미적 모티브를 이용한 주얼리 디자인

In this study, the history of the clown, which has been a source of continuous inspiration in the field of contemporary fashion and art over a long period, was examined. In addition, the expressive characteristics of the clown that appear in modern fashion were derived; then, base on this, the entire process of developing the design of a jewelry was presented. This study goes beyond typical jewelry designs such as necklaces and earrings that borrow the image of a clown and introduces new types of ear pieces over the eyes and ears that express emotions such as tears and smiles of the clowns, as well as mouthpieces worn by biting the mouth. The sadness of clowns, who always have to smile to amuse other people, and their performance of dangerous acrobatics have been the main inspirational elements for the jewelry collection. In addition, it is expected that this work will be a concrete and differentiated help for fashion product planning in that it offers a method for the entire process of creative design, material development, and production in the jewelry field, where research is insufficient compared to clothing.

“My Compliments to your Dressmaker”: The Past and Future of Wearable Tech

389 NOTES AND CORRESPONDENCE NOTES AND CORRESPONDENCE “My Compliments to your Dressmaker”: The Past and Future of Wearable Tech “Do you think you can gather more information with your eyes than I can with my sensors?” —Dr. Miranda Jones, “Is There in Truth No Beauty?” Star Trek 60 Although Diana Muldaur gives a commanding performance as Dr. Miranda Jones, the telepathic ambassador to the dread Medusan emissary in the fifth episode of the third season of the original Star Trek, she is not the star of the show. The real luminary of the 60th episode is not human at all, nor Romulan or Vulcan, for that matter. It is the dress that Dr. Jones wears for the duration: a shimmering, lightly woven, jewel-studded confection (see fig. 1 and 2, below). Not even the terrible lighting of the starship Enterprise can dull its effervescence, and not even Captain Kirk’s unwanted amorous advances can diminish its decidedly feminine power. The dress has presence, has agency (more on which in a moment), so it is no surprise that since its debut in the popular imagination in 1968, the garment has also starred in a variety of museum exhibitions devoted to Star Trek fandom, costuming history, and textile appreciation, in venues as storied as the Smithsonian Institute’s National Air and Space Museum (Mills). Indeed, Dr. Miranda Jones’s bedazzling dress exemplifies how science fiction both integrates and expands upon the fashion of its time. In the context of the episode’s original release (October 1968), it is interesting to compare the cover model of the 1 November 1968 issue of Vogue, Françoise Rubartelli, who is bedecked in jewels from the bustline up (fig. 3, below). The description of her Pierre Cardin ensemble could be used to describe Miranda Jones’s gown: “embroidered in a rainbow of dazzle from neck to waist—jewel-bright pailletes, silvery sequins, and bits of mirror ... brilliance carried up to the chin” (“Embroidered” 3). So also could the description of serpentine jewels that snake up the forearm of Veruschka on the cover of the 15 November issue (fig. 4, below): “dazzled here by the accessory of the hour” (“Dazzled” 3) or the silver-toned costume that Lauren Hutton wears on the cover of the December issue that same year (fig. 5, 390 SCIENCE FICTION STUDIES, VOLUME 48 (2021) below): “a feast of dazzle for the Christmas eye” (“Feast” 3). Correlation is not causation, of course; and it is in any case less important to identify which of these costumes precedes the others than to observe that all seem to reach out, like the sensitive, tentacled, and bedazzled feelers of an alien being, to an as-yet undefined future. We see the same anticipatory impulse in a variety of popular fashion lines today: the music videos that accompany Lady Gaga’s Chromatica (2020), for example, are as lushly colored and enticing as any M-class planet Captain Kirk and crew might have measured with their tricorders and also depict enough exquisitely tailored, form-fitting costumes to make Barbarella blush—or, given Barbarella’s breath-heavy victory over the sexual excesses of the “Excessive Machine,” perhaps Duran Duran would be the one blushing. (Fun fact: “Barbarella” is the name of a shade of lipstick by Nars Cosmetics.) Speaking of that Jane Fonda film released in October 1968, a recent story in Town and Country—“How 1970s Comic Books and Barbarella Inspired Van Cleef & Arpels’ New High Jewelry Collection”—features a diamond- and sapphire-studded lapis lazuli necklace in the shape of a diadem that one can easily imagine encircling Barbarella’s neck (Volandes). A recent line of jewelry from Chanel—“Constellation Astrale”—similarly riffs upon the celestial imagery so common in science fiction: with its sparkling gold stars, the necklace might adorn the décolletage of Wonder Woman herself. All these sumptuous objects share the sparkle of that Star Trek dress. What remains fascinating about Miranda Jones’s, however, is not the graceful symmetry of its weblike structure or the lavish appearance of its many sparkling nodes. This futuristic frock continues to delight because it is not, in the end, merely beautiful or decorative. No fashionable object is...

The New Aesthetics and Traditions of the Russian Stone and Jewellery Art in the Collections of Yekaterinburg Jewellery Houses

This article presents a review of the leading jewellery companies in Yekaterinburg. We present a comparative analysis of the range of products, focussing on the new stylistic design techniques and technological features of the jewellery collections and stone-cutting works produced by the leading jewellery houses. Examples of the most significant works in the premium class segment are discussed. We demonstrate how modern Russian jewellery art creatively combines and develops Russian and European historical jewellery tradition while striving to absorb and utilize cutting-edge techniques, materials and technologies. The wide range of resulting artworks and approaches to modern jewellery-making highlights the successful combination of historical and modern approaches. More sophisticated technology allows the jewellery artists to implement new ideas while creating increasingly technically complex works. We analyse the works by the leading Yekaterinburg jewellery houses: MOISEIKIN, CHAMOVSKIKH, Natasha Libelle, Ringo, Maxim Demidov, Jewellers of Ural.&#x0D; Keywords: jewellery collection, design, translation method, quatation method, transformation

Renaissance Man

Professor Joost Daalder taught in the English Department at Flinders University from 1976 until his retirement in 2001, mostly in the area of English Renaissance literature. Prior to that, he taught at the University of Otago (New Zealand) from 1966 to 1976. He has an impressive list of publications, including several scholarly editions of Renaissance literary texts and many journal articles, book chapters, and reviews. See http://www.flinders.edu.au/ehl/englishandcreativewriting/staff/joost-daalder-pub.cfm for acomplete list.Joost was born in the Netherlands in 1939, and studied at Amsterdam University and Edinburgh University before moving to New Zealand with his wife Truus in 1966. Joost and Truus have an interest in collecting fine arts, and in 2017 donated the Daalder Contemporary Jewellery Collection to the Art Gallery of South Australia. They also often lend art objects to other institutions for exhibitions. Truus is known for her books on the visual arts, notably her Ethnic Jewellery and Adornment (2009).I first knew Joost as a lecturer when I was studying Honours in English in the mid-1990s – he was an inspiring teacher of Shakespeare’s plays and poems. Since then we have become friends and colleagues and it seems fitting to mark his 80th birthday with an in-depth conversation about his professional career. The interview was conducted via email in September and October 2019.

Literary Narratives on Collections

The article deals with collections and collecting as a literary theme. Research on this issue should be undertaken by literary scholars, as collections support the features of literary characters and give protagonists their identity. The work analysed from this angle is “Money” by Andrzej Strug from 1914. It interprets and describes three different collections and three different collectors: the eccentric Lyttons and their museum of stones, Lucy Slazenger’s precious jewellery collection and the art collection of Osias Murway, an enthusiast of antiquities.

Sultan I. Abdülhamid’in Adamı Karavezir Seyyid Mehmed Paşa’nın Hayatı Ve Muhallefâtı

This article focuses on the life of the Pasha who gained trust of Abdulhamid the 1th and had on active role on the administration and administrators at the backstage, the place of him in the presence of the Sultan and his heritage. During the period of Sultan’s armorer, he gave a reference about some grand viziers such as Izzet Mehmed Pasa from Safranbolu, Izzet Mehmed Pasa from Darende,Halil Hamid Pasa, as a person at a backstage in political environments, he got a good place in the eye of the Sultan. Through his foundation, he change the village of Arapsun where he was born into the subprovince of Gulsehir taking an example by Damat Ibrahim Pasha’s changing Muskara into Nevsehir. Apart from the danations he made to the foundation that he founded whit his own possesions, he had fur, gun, horse and jewellery collection. Besides his intelligence to gain bureaucratic positions, he is thought to be an enjoyable and a pleasant person, his nargile and stick collection reveal the tabacco passsion which was the trend of that era. Although most of his possessions have domestic and eastern origins, he had about one hundred kitchen utensils from Saxonia and Vienna, which shows that he wasn’t a stranger to European culture and taste. Within this scope, a lot of information was revealed for he first time with this study.Keywords: Grand Vizier, Karavezir, Seyyid Mehmed Pasha, Heritage, Material Culture.

Metallurgical investigation on fourth century BCE silver jewellery of two hoards from Samaria

A fourth century BCE silver jewellery collection, which is part of two hoards of Samarian coins (the Samaria and Nablus Hoards), was studied by non-destructive analyses. The collection, which consists of pendants, rings, beads and earrings, had been examined by visual testing, multi-focal microscopy and SEM-EDS analysis. In order to enhance our knowledge of past technologies of silver jewellery production, we developed a metallurgical methodology based on the chemical composition of the joints and bulk. The results show that all artefacts are made of silver containing a small percentage of copper. Higher copper concentrations were measured in the joining regions. Our research indicates that the manufacturing of the jewellery from both hoards involved similar techniques, including casting, cutting, hammering, bending, granulating and joining methods, indicating that the artefacts were made by trained silversmiths. Although the burial date of the Samaria Hoard – 352 BCE – is some 21 years earlier than that of the Nablus Hoard – circa 331 BCE, a noted continuity in the local production technology is apparent in the analysed items. This information provides better understanding of the technological abilities in the late Persian-period province of Samaria and bears implications on the local silver coins produced in the region.

Is Gold Jewelry Money?

This article explores the extent to which gold jewelry, an object type conventionally looked on as a means of display, should also be seen as a type of money. Drawing on historical evidence and ethnographic research, the analysis considers the ways in which two examples—the Renaissance money chain and the modern jewelry collection—exhibit characteristics fundamental to money: liquidity, partibility, and recursive divisibility. As a result, this study proposes that gold jewelry can best be described as a type of para-money. The article concludes that due to its ambiguous state, gold jewelry is able to act as a mediator in social situations where exchanges of money proper are considered unacceptable, and that this is an important yet under-acknowledged aspect of its social identity.

On the History of Alexander Lvovich Berthier-Delagarde’s Private Collections (With Reference to Documentary Materials)

The article explores the events behind the donation of the collection of books and manuscripts belonging to a prominent scholar of Crimea Alexander Lvovich Berthier-Delagarde to the Central Museum of Taurida, as well as how part of his numismatic and ethnographic collection was sold to a private owner. The analysis is made with reference to unpublished documents of central (Moscow, Saint Petersburg) and regional (Simferopol, Odessa) archives. The author refers to the epistolary legacy of I. A. Linnichenko, A. I. Markevich, and A. V. Oreshnikov. The author considers A. L. Berthier-Delagarde’s biography, his contribution to the study of the history and archaeology of Northern Circum-Pontic Region, and his enthusiasm in collecting artefacts. Special attention is paid to the activity of members of the Tauric Learned Archival Commission meant to preserve unique collections during the revolutionary years. Additionally, the author focuses on archaeologists’ interest in the handwritten documents in the late 1920s. During the Revolution, part of A. L. Berthier-Delagarde’s numismatic collection was lost, and the other part was sold to a European antiquarian. The Crimean scholar’s jewellery collection and the Gothic style Tauric items were purchased by the British Museum. A. L. Berthier-Delagarde’s library and private archive were given to the Central Museum of Taurida.

Gioielli sudarabici da Kharibat Hamdān/Haram (Jawf, Yemen): osservazioni preliminari

Research on ancient South Arabian jewellery has been relatively limited in comparison to other categories of material culture. Jewellery has been discovered mainly as funerary goods and tombs have often been the object of looting. The Kharibat Hamdān jewellery collection was illegally excavated in a small funerary temple or mausoleum around the ancient site of Haram, in the al-Jawf area. The dating of the jewels has been possible from comparisons with known individual pieces and from jewels carved in relief on coeval South Arabian sculptures.

Nondestructive investigation on the 17‐18th centuries Sicilian jewelry collection at the Messina regional museum using mobile Raman equipment

In recent years, the use of mobile Raman equipment as an archeological, artistic, and conservation tool has largely increased due to the possibility to obtain quick and nondestructive compositional analysis on precious, vulnerable, and unique art objects. In particular, art and archeological museums can take great advantage in carrying out in situ measurements in short times and without moving the artifacts. In this work, we report on the Raman measurements carried out by portable instruments on an important jewelry collection dated back to 17th–18th centuries and preserved in the Messina Regional Museum (Sicily, Italy) with the goal to verify the identification of the gems and gemological materials of the collection, previously made by conservators. Although most of the previous identifications were confirmed, some important reclassifications have been proposed. Finally, interesting and unusual combinations of different materials were detected in some jewels. Copyright © 2015 John Wiley &amp; Sons, Ltd.

Scientific investigation and study of the sixteenth-century glass jewellery collection of Archduke Ferdinand II

The glass jewellery collection of Archduke Ferdinand II, today part of the Collection of Sculpture and Decorative Arts, Kunsthistorisches Museum, Vienna, Austria, is a rare example of early modern lampwork. The small glass items, made by shaping fine glass rods and tubes in front of the flame of an oil lamp, date from before 1596. Although lampworked glass objects must have been popular collectibles, only a few pieces have survived. Therefore, the examination of this collection is a unique opportunity for the study of sixteenth-century lampworking technology. The rarity of the glass objects limited the examination to non-destructive methods. Optical microscopy provided an overview of the glass colours and surfaces. Subsequently, non-invasive portable energy dispersive X-ray fluorescence analysis (XRF) was carried out to classify the glass types. Further invasive investigations were carried out with micro-invasive electron probe microanalysis (EPMA) and energy dispersive X-ray microanalysis in a scanning electron microscope (SEM-EDX) on samples obtained from fragments of the jewellery, to identify the composition of the glasses specifically produced for lampworking, and the glassmaking tradition to which they belong.

Investigating the Role and Importance of Persian Crown Jewels in Economic and Political Developments in Shah Abbas I Era (1587-1629)

From their early history, Persians have always been charmed by jewelry and whenever a powerful dynasty came to power, economy of the country would become more dynamic and a collection of the most precious gems and jewels would be accumulated. The glorious age of the Safavids was not an exception to this. In the reign of Shah Abbas as the greatest Safavid king, the importance of possessing a treasury full of jewels, gold and silver for king’s own person made him expand his treasury and jewelry collection more than ever and use it in achieving other political ends during his reign. Using existing resources, this study aims to investigate the role and importance of crown jewels in the economic and political developments in the reign of Shah Abbas I. Library research method and comparison and analysis of existing resources, especially the original resources are used in this article. After necessary data are collected, they are organized and then analyzed and finally conclusions are drawn.