Jewelry Art Research Articles

Культурные реминисценции в современном авторском ювелирном искусстве России

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.

CHALLENGES OF ART MANAGEMENT AND THE MATERIALIZATION OF ARMENIAN JEWELRY ARTS IN THE REPUBLIC OF ARMENIA

The article aims to showcase the perspectives and news of Armenian jewelry art on international platforms. This research is pertinent as Armenian jewelry has significant relevance both in the past and the present. To achieve the objective, the following issues have been set: to observe the possible sales forms of contemporary Armenian jewelry arts in local and international markets, as an economic development boost. During the research, various methods were used to identify sales patterns. The main conclusion made within the research framework is that Armenia possesses a rich heritage of jewelry-making and creativity. This heritage is still relevant for today's Armenian craftsmen, serving as their method for combining the past with the present. By preserving traditional elements and using contemporary trends, Armenian craftsmen can present, display, and market their jewelry internationally. Ultimately, this will also ensure economic growth and stability.

Авторское ювелирное искусство Италии в контексте художественных экспериментов Падуанской школы

The article is devoted to the study of the formation and development of designer jewelry art in Italy in the second half of the XX-XXI centuries. In this context, special attention is paid to the activities of the famous Padua Jewelry School at the Institute of Arts after Pietro Selvatico. It had a powerful influence on the formation of a new visual language in modern European jewelry. From the perspective of the issues under study, the article examines the activities of the key figures of the artists – the founders of the Padua School – Mario Pinton, Francesco Pavan, Giampaolo Babetto, who laid the stylistic foundations of the Padua School, the influence on their work of the rich traditions of Italian jewelry, innovative experiments with form, design, materials and technologies. The article also analyzes the activities of their followers, who continued and developed the artistic searches of their teachers.

The golden winged bull (griffins) images in ancient religions

The article analyzes images of fantastic animals accidentally discovered on the territory of the Lerik district in southeastern Azerbaijan. These noteworthy discoveries are currently stored in the valuables collection of the National Museum of History of Azerbaijan. These objects testify to the high development of art in ancient times. Considering the resemblance of these images to those in West Asian regions, it is evident that Azerbaijan's ancient metalworking and jewelry art had extensive connections. This can be linked to religious beliefs, cultural-ethnic ties, and longstanding trade relations. Nevertheless, in the South Caucasus, particularly in Azerbaijan, the origins of these bull images are more ancient, primarily represented by clay and bronze figurines. This underscores the continuity of traditions in ancient art, with these finds likely dating back to the Mannean period (9th–8th centuries BC).

The role of the history of art of Kazakhstan and its artistic trends in the students� educational process

Relevance. The relevance of the study is due to the need to supplement the course �History of Fine Arts of Kazakhstan� and thereby improve the quality of professional education of Kazakh students.Purpose. The purpose of this study was to cover the significance of the course of the history of arts of Kazakhstan in the educational process of students of professional and creative faculties.Methodology. The leading method of studying this problem was the classification method, which helped single out and systematize various areas and periods in the history of the arts of Kazakhstan. The following methods were also applied: iconographic method, system analysis method, logical analysis method, synthesis method, comparative method, deduction.Results. The paper presents the results of a study of the history of art in Kazakhstan, including an analysis of various artistic trends, key periods, and creative personalities. The paper presents the major features of the ancient culture of Kazakhstan, reveals the characteristics of traditional patterns, their symbolism, and meaning. The art of the Kazakh carpet was analysed, the main techniques for making carpets and their characteristics were identified. The study examined the role of the fine arts, jewellery art, and dance arts of Kazakhstan and presented their main characteristics and directions. It was concluded that knowledge of the history of art in Kazakhstan is a necessary component of student education, as it offers a more profound understanding of the history of the country and its cultural heritage.Conclusions. The materials of the study are of practical value, since they provide an opportunity to better understand the cultural heritage of Kazakhstan, and the use of these materials to develop new training and advanced training programs for specialists in the field of culture and art will contribute to the preservation and promotion of the unique traditions of Kazakh art in the world.

Путь к империи: становление придворной художественной культуры в России в петровское время

In the course of the project, the author investigates the area of Russian court art culture in the first quarter of the 18th century associated with the formation of the new state ceremonial. For the first time, the authors cover practically all key ceremonies regulating the life of the monarch and his family: coronation, marriage and funeral ceremonies, triumphs and ceremonial meetings organized both in Russia and abroad. The article follows the development of the major principles of festive and mourning decorations and — to the extent possible — their further development throughout the 18th century. Particular attention is paid to symbols of power and insignia, as well as the jewellery art at the Russian court. Based on the materials collected, the author uncovers the circumstances of the design and use of a number of graphic works, regalia, orders, and precious settings for the court jewels, elucidated the typology and terminology of jewellery, and significantly expanded the existing understanding of the work of the craftsmen who executed the royal orders of the Romanovs.
 In the process of this research, the project team introduced the unpublished graphic and written materials, new facts and names, made a number of attributions and clarifications, including terminology.
 The findings are presented in the published collective paper, which contains besides the authors’ text the annexes comprising the publication of the 18th century documents and rich illustrations (more than 330 images): Tyukhmeneva E.A., Bykova J.I. A Path to Empire: Formation of the Art Culture at the Russian Court of Peter the Great. Ceremonies, Regalia, Jewels. Moscow: BooksMArt, 2022 — 448 p: illus.

Архитектурные мотивы в ювелирном искусстве XX — первой четверти XXI века

Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.

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.

Особенности творческой стратегии А.Г. Шарифуллина в авторском ювелирном искусстве

Александр Геннадьевич Шарифуллин — художник-ювелир, участник и лауреат множества конкурсов и выставок ювелирного искусства. В статье впервые вводятся в научный оборот произведения А.Г. Шарифуллина, относящиеся к светскому и церковному направлениям авторского ювелирного искусства. Ставится цель выделить особенности творческой стратегии мастера, охарактеризовать способ решения ключевых для ювелирного искусства проблем формы и содержания, традиции и новации. Для достижения поставленной цели использованы методы интервьюирования, компаративного и формально-стилистического анализа произведений. В статье выявлены условия существования творчества А.Г. Шарифуллина в контексте современного ювелирного искусства России — между консервативным копированием и массовым производством изделий «китча». Рассмотрены ключевые технические характеристики процесса создания изделий с использованием ювелирных и «нетрадиционных» (сталь, производственные резина, стекло, дерево) материалов, различных техник и технологий (от 3D-моделирования и выращивания до всечки и инкрустации). Выявлены взаимосвязи произведений художника с мировым искусством XX века и древности — от изделий Африки и Океании до Византийской Империи. Также обозначено значение взаимодействий мастера с современной виртуальной художественной средой. Проведенное исследование позволяет сделать вывод о возможностях интеграции традиционных и современных техник, о потенциале философского и художественного диалога художника и зрителя посредством ювелирных изделий. Актуализация в творчестве А.Г. Шарифуллина ключевых проблем декоративно-прикладного искусства делает его работы перспективными для дальнейших исследований. Alexander G. Sharifullin is a jewelry artist, participant and laureate of much jewelry art contests and exhibitions. The article introduces into scientific circulation the works of A.G. Sharifullin relating to the secular and ecclesiastical direction of the author's jewelry art. The aim is to highlight the features of the creative strategy of the master, to characterize the way to solve the key problems of form and content, traditions and innovations for jewelry art. To achieve the tasks set, the methods of interviewing, comparative and formal stylistic analysis of works were used. The article reveals the conditions of existence of A.G. Sharifullin's creativity in the context of modern jewelry art of Russia between conservative copying and mass production of “kitsch” products. The author considered the key technical characteristics of the process of creating products using jewelry and non-traditional (steel, industrial rubber, glass, wood) materials, various techniques and technologies (from 3D modeling and cultivation to cutting and inlay). The interrelations of the artist's works with the world art of the 20th century and antiquity are revealed from the products of Africa and Oceania to the Byzantine Empire. The significance of the master's interactions with the modern virtual artistic environment is also indicated. The conducted research allows us to conclude about the possibilities of technological integration of traditional and modern techniques, about the potential of philosophical and artistic dialogue between the artist and the viewer through jewelry. Actualization of the key problems of decorative and applied art in A.G. Sharifullin's oeuvre makes his works promising for further research.

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.

Living heritage under threat: supporting, protecting and safeguarding traditional crafts (on the example of Kazakh pile carpet weaving)

According to UNESCO officials, the Urgent Safeguarding Register currently contains 76 elements of intangible cultural heritage whose viability is threatened. Some of them are elements related to traditional crafts. According to the author's field research and interviews with craftsmen from various regions of Kazakhstan, some types of traditional Kazakh crafts are in dire need of urgent protection. Among them are tufted and lint-free carpet weaving, bone carving, production of natural strings for musical instruments, some techniques of jewellery art and others. In this regard, this article analyzes the practice of supporting, protecting and defending traditional crafts in the global context, which will allow not only to get acquainted with modern trends in this field, but also to outline the main points of the traditional crafts protection strategy in Kazakhstan. This aspect is considered by the author through the prism of the Kazakh pile carpet weaving. There is no doubt that the viability of traditional crafts depends on a set of well-designed measures for their protection, including not only financial mechanisms but also the entire promotional infrastructure: from the use of marketing technologies to the development of educational manuals for the education system. The main concentration of the article is focused on the elements included in the List of ICH in need of urgent protection and analysis of practices of support, protection and conservation of traditional crafts in the global context. Geography of the countries that have initiated inclusion of their elements in this list is quite extensive and their experience in this direction seems promising for Kazakhstan. After all, crafts are associated with deeper layers of traditional culture: the worldview, representations, rituals, etc.

ՎԱՍՊՈՒՐԱԿԱՆՑԻ ՈՍԿԵՐԻՉՆԵՐԸ (19 - 20-րդ դդ.) / JEWELLERS OF VASPURAKAN (19th - 20th Centuries)

Vaspurakan’s jewellery carries the traditions of Armenian art in general and directly continues the culture of Van or Ararat Kingdom, which in its turn was the continuation of the Bronze Age rich art. Archaeological materials and written sources show the development and the variety of the ancient jewellery art in the Armenian Highland and the localities of the archaeological discoveries (temples, palaces, fortresses tombs, etc.) show the ways they were used. Different historians provide valuable information about the medieval jewellery of Vaspurakan. The ritual objects and the covers of handwritten and printed religious books also show the high level of the skillful masters. The clergymen also were engaged in jewelry making over the centuries. In the 19th and the beginning of the 20th century, the products of Van masters were distributed in Turkey and exported to Europe, Africa and America. The jewellers used various techniques such as casting, stamping, filigree, double threading, embossing, granulating, engraving, gilding, niello, etc. Although niello was known from very early times, it began to be widely used from 1860 - 1870’s, then passed to the Caucasus and from there to Russia. The master jewellers of Van have always been known for their talent, and they always taught, transfered and spread their skills wherever they lived. The descendants of Vaspurakan jewellers are still working in Armenia and in different countries of the world.

CRAFTS AND ARTS OF THE NOMADIC PEOPLES OF RUSSIA AND CHINA IN THE CONTEXT OF SEMIOTICS AS A RESEARCH METHOD. COMPARATIVE ANALYSIS

The article analyzes the figurative systems of jewelry art of nomads of Russia and China, which shows that these cultures were intertwined due to a mobile lifestyle, active interchanges. They absorbed signs and symbols from each other, repeated them and reinterpreted them. The most common in the design of jewelry, as well as other objects of applied creativity, were plaiting, images of predators rolled into a ring, as well as rosettes of petals. They were united by the function of a talisman and a demonstration of the social status of the bearer. Thus, it can be assumed that a single artistic tradition functioned everywhere, conditioned by common mythological and magical ideas.

Jewelry Art Modeling Design Method Based on Computer-Aided Technology

In order to improve the effect of jewelry art modeling design, this paper applies computer-aided technology to jewelry art modeling design. Moreover, in order to solve the situation that the given data points do not form a topological rectangular grid, an interpolation algorithm based on triangular BB surfaces is specially studied in this paper. The algorithm automatically triangulates the given scattered data points to establish the topological relationship between the data points, and modified and optimized the triangulation algorithm according to the requirements of jewelry art modeling design. In addition, the improved algorithm can handle the triangulation problem of spatial data points well, and the triangulation speed is fast. The experimental verification shows that the jewelry art modeling design method based on computer-aided technology proposed in this paper can effectively improve the effect of jewelry art modeling design.

The traditional decorations of Karabakh (examples of jewelry art) (Azerbaijan Republic)

  This article, based on the achievements of modern ethnographic science of Azerbaijan, examines the history of the creation of traditional women's jewelry in one of the most ancient regions of Azerbaijan - Karabakh. The jewelry art of this region has a deep tradition that go back to the origins of the most ancient civilizations of the Turkic world. Specific real images in the form of rethought conventional-decorative symbols were presented in jewelry, which were used as a talisman-amulet in the costumes of Karabakh residents. The sacred function has been strong in jewelry since its inception and has not lost its significance in some types of jewelry to this day. During the Middle Ages and modern times, a symbolic function has increased in traditional women's jewelry, which serves as an indicator of a woman's material condition, her gender and age category, position in society, and local belonging. Over time, in the traditional women's jewelry of Karabakh, their aesthetic component increased, and the sacred-magical function weakened, but did not completely lose its significance.

ON THE MANUFACTURE TECHNIQUE OF PSEUDO-TWISTED WISPS OF THE PECTORAL FROM THE TOVSTA MOHYLA BARROW

The pectoral from the Tovsta Mohyla is an astonishing artifact which gathered different technical ways of Hellenic jewelry art. During this jewelry, which is composed of more than 160 details, a few dozens of different technical operations had been used. Till that time the less understood thing is a complex of ways that have been used by a craftsman during manufacturing of four pseudo-twisted hollow wisps, that framed figured pectoral friezes. None of the proposed reconstructions doesn’t give clear understanding on the most important elements of the technologic process of manufacture of the wisps, namely — technical operations used by an artisan for obtaining the verisimilar relief of a twisted wisp on hollow tubes.
 A definite clue for resolving this question can be given by construction of the torque from the Kul-Oba burial, a wisp of which consisted of a bronze twisted stem covered with a gold plate. Such construction could generate the idea of the manufacturing of hollow relief wisps with twisting imitation. To obtain them the craftsman twisted a wisp matrix from seven bronze wires. On that wisp a heat sealed tube rolled of thin gold sheet was placed. By the means of the basma technique — by pressure of wooden, bony or metal tools on a gold sheet, a twisted relief was squeezed at the tube. Then the tube was unscrewed from the matrix by turning around its radial axis towards a thinner tip of the matrix.
 The torque from the Solokha burial mount also has similar wisp construction. It stands for the fact of using identical technology during their manufacturing and of possible manufacturing of the pectoral and the torque by goldsmiths of the same workshop, or even by the same artisan.

A FADING TRADITION: ON ONE GROUP OF EARLY SCYTHIAN POLE-TOPS

Since the beginning of the 20th century, researchers have paid attention to a series of the Scythian pole-tops with flat images of birds. These findings are one of the indicators of the assemblages of the second—third quarter of the 6th century BC.
 At the moment, there are 4 sites in Central and Eastern Europe with finds of pole-tops from this series. These are Ulskii, barrow 2 (1909) and barrow 10 (1982) in the Kuban region, Răscăieţii Noi, barrow 1 in the Lower Dniester region and Zashchita, barrow 1 in the Dnieper Forest-Steppe.
 Pole-tops with a flat reduced image of bird heads are found in the Kuban sites, which can be considered as ritual places or shrines. Zashchita, barrow 1 can probably also be considered as a ritual place. There were no burial pits in such mounds. Under the burial mounds there were wooden structures with tent-shaped roofs or wooden canopy, but there were no human burials. Excavations of recent decades have revealed that a pair of pole-tops were part of a wooden altar and were located at the entrance to the ritual place.
 Probably, such pole-tops, like other sacred objects and details of the horse bridle, were ordered in one of the workshops in the Transcaucasus, where the art was formed under the influence of Lydian tradition of jewelry and toreutics. This can explain the fact that the finds differ from the early group of the pole-tops with rattles and three-dimensional figures of animals. The finds from Ulskii, barrow 2 (1909) and barrow 10 (1982) dated based on a horse bridle to the middle of the 6th century BC. The artifacts from Zashchita, barrow 1 and Răscăieţii Noi barrow appear to be replicas. They can be dated to the second half of the 6th century BC.
 Thus, the series of tops with flat reduced images of birds of prey was formed in the Kuban region and, apparently, as a result of the contacts of local elites with the Transcaucasus and the influence of Lydian jewelry art and toreutics. The archaeological context of the finds proves their use outside the funeral rite but at the same time expresses a connection with the idea of sacrifice and sacralization of space. These objects mark the final stage of their use in the ritual of the Early Scythian Age. From the last quarter of the 6th century BC pole-tops as a cultural phenomenon also disappeared in the 5th century BC. Future research will have to show why the tradition of using these ritual attributes faded out and was “reinstated’ in the 4th century BC. In conclusion, it should be noted that the results allow us to make changes in the classification of the pole-tops.

SALVADOR DALI’S ARTISTIC EXPERIMENTS IN THE ART OF JEWELRY AND THEIR IMPACT ON CONTEMPORARY DESIGN

The purpose: to analyze the specifics of Dali's creative search for figurative solutions in jewelry; to present a project of jewelry based on the works of S. Dali.
 Methodology. Historical-typological, analytical, comparative, iconographic methods were applied; during the analysis of Dali’s jewelry works, the methods of formal and figurative-stylistic analysis were applied.
 Results. The specifics of S. Dali's heritage in jewelry art and its influence on the works of modern masters are analyzed. The specifics of the transformation of a picturesque image into a jewelry work of S. Dali are considered, their material and symbolic features are given. The modern jewelry created on the motives of S. Dali's creativity is considered. The jewelry project "Perfect Speed of Dali" is presented.
 Scientific novelty. The connection between S. Dali’s works of art and jewelry is revealed and analyzed, the sequence of the artist’s creative search is investigated. The peculiarities of the influence of S. Dali's jewelry projects on the production of modern jewelry are established. Modern jewelry works based on the works of S. Dali have been put into scientific circulation.
 Practical significance. The materials of this study can be reflected in lecture courses in the disciplines of "Art and Material Culture", "History of Jewelry", and can be a practical basis for the jewelry production.

NATURAL FORMS OF MINERALS IN COMBINATION WITH BEADS – RENEWAL OF TRADITIONS IN THE CONTEXT OF ECOLOGIZATION OF JEWELERY

One of the most interesting trends in modern jewelry is the use of natural forms in mineral products – unprocessed in general or partially processed. Jewelry has undergone significant artistic and conceptual changes, as well as the influx of new materials and techniques. However, many of the newest trends are in fact an improved replica of long-standing trends: traditional folk crafts related to the creation of jewelry are being revived and becoming more widespread. Here it is necessary to name ornaments from a twisted wire, beads, a horn, a tree, glass, threads and others. There is currently controversy among art critics as to whether jewelry made from non-jewelry materials can be considered jewelry. The argument of opponents of this attitude to products made of non-precious materials is the very name “jewelry” – jewel, from “precious stone”. According to them, the concept of “jewelry art” can include only jewelry made using valuable materials. However, the high quality and artistic value of jewelry made of “non-jewelry” materials often puts them on a par with traditional jewelry. Techniques such as beadwork, thread weaving and wood carving are currently considered decorative and applied arts. But the attraction of precious or semi-precious materials, elements of precious metals puts them on the border between decorative and jewelry art. In particular, this article proposes to consider jewelry made of beads, the main elements of which are precious minerals of natural forms. Raw minerals are also on the border between the concept of “precious” and “derived”: because often the concept of “precious” is associated with the concept of “faceted” and a whole scale of quality based on physical and chemical properties of the mineral, while omitting its artistic value and visual uniqueness. Thus, the aim of the study is to consider various examples of the use of minerals of natural forms in beaded jewelry and give arguments about their belonging to the art of jewelry.

Эволюция статуса ювелирных украшений в истории культуры и их роль в межкультурных взаимодействиях

It is interesting to consider the evolution of jewelry status in the history of culture and its role in intercultural interactions in the correlation of periods of conceptual social transformations. The purpose of the study is to examine the main cultural approaches to the development process, to identify current trends in the study of cultural diffusions in the context of jewelry art. The motives and functions of jewelry are analyzed, the systematization carried out allows us to determine the place of jewelry in intercultural interactions on the example of ancient Asian cultures (Tibet, Mongolia, small peoples of China), which have significant both material and spiritual heritage and show signs of cultural diffusion, permeability. This civilizational community is imbued with a large amount of influences that have their own patterns: directions and rhythms. The traditional jewelry art of this region demonstrates a variety of technologies and materials with their stylistic continuity, common cultural roots. The study considers a question of the origin of jewelry, which most likely arose simultaneously with the appearance of clothing, costume complex, is an integral part of human civilization, and undoubtedly had a huge impact on its evolution. Conclusion: the identification of markers of cultural diffusion through a comprehensive comparative-typological analysis of genres, materials, and artistic style in the traditional jewelry art of Central Asia, including the small peoples of southern China, Mongolia and Tibet in the modern author’s jewelry art of the Stroganov school through the prism of innovations of the shaping of the Russian avant-garde of 1910–1920 just define the main culturological approaches.