Pieces Of Jewellery Research Articles

On performing art jewellery: identity play as leisure activity

ABSTRACTAlthough the wearer is central to the understanding of jewellery of all kinds, the ways in which art jewellery is consumed as a leisure activity has received little critical attention. This paper seeks to situate the socially meaningful practices of art jewellery, with reference to social psychology [Markus, H. R., and S. Kitayama. 1999. “Culture and Self: Implications for Cognition, Emotion and Motivation.” In The Self in Social Psychology, edited by R. F. Baumeister ] and the sociology of Giddens [1991. Modernity and Self-identity: Self and Society in the Late Modern Age. Cambridge: Polity Press] and Goffman [[1959] 1990. The Presentation of the Self in Everyday Life. London: Penguin Books], as well as Butler's [[1990] 2006. Gender Trouble: Feminism and the Subversion of Identity. Abingdon: Routledge Classics] concept of performativity, in order to explore how jewellery is used to articulate aspects of the self. The paper draws on a small-scale primary research project, in which participants – new to this kind of adornment – wore, discussed and responded to both their own precious, traditional jewellery and a range of pieces of art jewellery. Whereas discussion of the participants’ own jewellery illustrates how it serves to lock them into place within their network of family and friends, their experiences of engaging with the art jewellery exemplifies their status as autonomous, bounded individuals. Trying on and responding to the art jewellery serves as a kind of identity play, extending the range of embodied practices available to the participants and allowing them to engage with non-normative performances of the self. This suggests that wearing art jewellery may serve as a form of performative leisure, disrupting the range of corporeal experiences open to women and creating the potential for change. The novelty of this approach stems from interrogating data derived from creative research methods using a conceptual framework that examines the mechanisms by which the self is constituted, establishing this as a new contribution to the fields of both leisure research and art jewellery.

The aesthetic dimension of light in metal jewelry

Jewelry pieces, especially those with artistic touch are among precious things in all ages and times. The brightness of jewelry has its own character, which ascends to the world of palaces and the rich and ruling classes. The concept of brightness has changed nowadays, it is no longer confined to the reflection of light by precious raw materials and stones used in it, but also extends to include artificial light produced from electricity with its wide and enchanting world. Among all the inventions made in the twentieth century, the invention of the electric light has been the most important extending its use in jewelry as well. The relevance of this research is to highlight the importance of natural and artificial lighting in the aesthetics of jewelry from ancient times to the present day. We will also discuss the current developments resulting from changes in perception and content related to jewelry.

Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain

It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chia­roscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.

Synchronicity: did Jung have it right?

Synchronicity: did Jung have it right?

WrapIt

Wire wrapping is a traditional form of handmade jewelry that involves bending metal wire to create intricate shapes. The technique appeals to novices and casual crafters because of its low cost, accessibility and unique aesthetic. We present a computational design tool that addresses the two main challenges of creating 2D wire-wrapped jewelry: decomposing an input drawing into a set of wires, and bending the wires to give them shape. Our main contribution is an automatic wire decomposition algorithm that segments a drawing into a small number of wires based on aesthetic and fabrication principles. We formulate the task as a constrained graph labeling problem and present a stochastic optimization approach that produces good results for a variety of inputs. Given a decomposition, our system generates a 3D-printed custom support structure, or jig , that helps users bend the wire into the appropriate shape. We validated our wire decomposition algorithm against existing wire-wrapped designs, and used our end-to-end system to create new jewelry from clipart drawings. We also evaluated our approach with novice users, who were able to create various pieces of jewelry in less than half an hour.

English lexical semantic field 'jewellery' as a fragment of professional image of the world

The article outlines the level of presentation and the peculiarities of the definitions of jewellery nominations in the English encyclopedias. The notions of the lexical semantic field, concrete vocabulary have been determined and the thematic classification has been given in the article.The volume of investigated material is 300 nominations, obtained by consecutive selection. Under lexical semantic field we understand a group of words united by a common feature in their lexical meaning. This common feature is known as the integral seme. In our case the word combination “a piece of jewellery” serves as the integral seme which unites the constituents of the given field. The following thematic groups have been singled out and studied basing on the somatic features: hands and arms jewellery, head jewellery, neck jewellery, body jewellery, feet and legs jewellery.

The Bronze Bipartite Buckles in the Materials of the Burial Site Prospikhino Shivera-IV in the Lower Angara River

At the Burial Site Prospikhino Shivera-IV in the Lower Angara River, which was used in 11-14 centuries 26 bronze bipartite buckles were found. There are three main types among them: buckles with openwork circular, rhombic and solid round body. They have numerous analogies in the materials found between the rivers Ob, Irtysh and Angara. The round buckles with a solid body were found in the graves of all chronological groups of the burial, whereas the other types are typical for complexes of the 11-12 centuries. The buckles were cast according to a lost wax method, in one-piece clay forms. For three of the buckles X-ray fluorescence alloy analysis was conducted, which showed that they all were cast of lead-tin bronze. The quality of these pieces of jewelry in this category is relatively low; they have underfilled spaces, alloy overflows and metal deformation of the original shape.

Analysis and interpretation of a unique Arabic finger ring from the Viking Age town of Birka, Sweden.

In this work we used non-destructive SEM imaging and EDS analysis to characterize the material composition of an Arabic finger ring, which was found in a 9(th) c. woman's grave at the Viking Age (A.D. 793-1066) trading center of Birka, Sweden. The ring is set with a violet stone inscribed with Arabic Kufic writing, here interpreted as reading "il-la-lah", i.e. "For/to Allah". The stone was previously thought to be an amethyst, but the current results show it to be coloured glass. The ring has been cast in a high-grade silver alloy (94.5/5.5 Ag/Cu) and retains the post-casting marks from the filing done to remove flash and mold lines. Thus, the ring has rarely been worn, and likely passed from the silversmith to the woman buried at Birka with few owners in between. The ring may therefore constitute material evidence for direct interactions between Viking Age Scandinavia and the Islamic world. Being the only ring with an Arabic inscription found at a Scandinavian archaeological site, it is a unique object among Swedish Viking Age material. The technical analysis presented here provides a better understanding of the properties and background of this intriguing piece of jewelry.

Role of Plain Radiography in the Assessment of Ingested Foreign Bodies in the Pediatric Patients

Ingestion of various types of foreign bodies (FBs) such as coins, toy parts, jewelry pieces, needles and pins, fish and chicken bones, and button-type batteries is common among children. The curiosity of children and their need to investigate the world around them place them at a higher risk for ingestion of FBs. Fortunately, 80%-90% of ingested foreign objects that reach the stomach will pass uneventfully without intervention. The remainder may become blocked in the esophagus or other region of the alimentary tract, placing the pediatric patient at risk of significant complications such as aspiration, obstruction, bleeding, perforation, fistulization, sepsis, and death. The goals of the initial pediatric patient assessment are to identify the type of object ingested, its location in the gastrointestinal tract, and the presence of associated complications. Factors reported to increase the risk of complications included a sharp FB, a FB with a wide diameter, and symptoms. Plain radiographs still play an important role in the assessment of ingested FBs in the pediatric patient: plain films of the neck, chest, and abdomen are very useful in confirming the diagnosis of FB ingestion because most ingested FBs are radiopaque.

Sentimentalizing Daisy for the Screen

Copyright © 2014 The Pennsylvania State University, University Park, PA Daisy Buchanan is one of the most enigmatic characters in American literature. Many first-time readers of The Great Gatsby are frustrated by Nick’s account of Daisy and wonder why Gatsby would risk so much for such a woman. However, they miss the point. Daisy represents something indefinable—an idealized love. As Roger Lewis says in “Money, Love, and Aspiration in The Great Gatsby,” “the love becomes more important than the object of it” (49). Daisy herself is not his goal. Gatsby’s goal is to keep hold of the love that she once inspired, the memory of her, which is colored by his idealization of her. This nostalgic longing for a feeling rooted in the past is sentimentality at a profound level. In fact, at the end of chapter 6, Nick listens to Gatsby recount his first kiss with Daisy and describes Gatsby’s words as “appalling sentimentality” (Gatsby 111). Daisy’s effect on Gatsby is perhaps the biggest paradox of the novel. Based on her actions, it is difficult to gauge how she exerts a hold on Gatsby. Nick comes closest when describing her voice, which, Gatsby later notes, is “full of money” (120): “When the melody rose, her voice broke up sweetly, following it, in a way contralto voices have, and each change tipped out a little of her warm human magic upon the air” (108). Daisy’s “magic” is hard to define, and Nick seems to catch glimmers of it; but he is always at the periphery, unable to tell exactly what Gatsby sees in her. Especially after the car accident, Nick is amazed that Gatsby endangers himself by staying when he is, in Nick’s words, “worth the whole damn bunch put together” (154). Film producers are uncomfortable with ambiguity, however. In general, all the film versions of Fitzgerald’s novel have followed a predictable route. Their marketing campaigns claim that they have tried to evoke the spirit of the novel, yet they boost the sentimentality of the story with great deliberation, pushing the use of pathos far beyond what Fitzgerald would have sanctioned. Most egregiously, producers and filmmakers try to make Daisy a more sympathetic character by changing her storyline. For Fitzgerald readers, this change in Daisy’s character is a continual disappointment. There have been five big-budget, filmed adaptations of The Great Gatsby: 1926, 1949, 1974, a 2000 television production, Sentimentalizing Daisy for the Screen

Sentimentalizing Daisy for the Screen

Sentimentalizing Daisy for the Screen

Found Things by Marilyn Hilton (review)

Reviewed by: Found Things by Marilyn Hilton Amy Atkinson Hilton, Marilyn Found Things. Atheneum, 2014 [240p] Trade ed. ISBN 978-1-4424-6087-4 $16.99 E-book ed. ISBN 978-1-4424-6089-8 $10.99 Reviewed from galleys R Gr. 4-6 After her brother disappears, River Rose goes ever more frequently to the river that is her namesake, where family legend says she was found and where she now collects pieces of dolls and jewelry and other items that wash up on shore. Taunted by the school bully, River finds her loneliness eased by the arrival of Meadow Lark Frankenfield; with physical deformities and an unnervingly assured comportment that guarantee she will remain an outsider, Meadow Lark becomes fast friends with River. The more time River spends with Meadow Lark, the more secrets surface and unfold in River’s family life, while wishes she makes seem to come true, leaving her to wonder who exactly Meadow Lark is—and to ask the same about herself. Lyrical and poignant, this novel weaves lessons about family, friendship, and forgiveness with elements of magical realism; otherworldly infusions into the novel, namely the mysterious Meadow Lark, emerge subtly but powerfully, maintaining focus on River’s reality while imbuing the narrative with an eerie wonder and possibility. Hilton has a remarkable gift for language, employing memorable, heart-piercing turns of phrase (the red hearts drawn on Meadow Lark’s lunch napkins show she is a “cared-about girl”) and using sophisticated conceits, such as speech alteration after trauma, to approach serious subjects of loss and self-discovery. Sensitive to its characters and attuned to the needs of the eleven-year-old heart, this evocative novel will fare well with readers who love language or uncovering family secrets, and who don’t mind a bit of thought-provoking ambiguity in a story’s end. Copyright © 2014 The Board of Trustees of the University of Illinois

FINE PRINTS

Banneya is an online platform devised by Nimesh Thakrar that harnesses 3D technology to create bespoke jewellery pieces

Cobalt release from earrings and piercing jewellery – analytical results of a German survey

Contact sensitization to cobalt is common. Some industrial exposures have been identified, but cobalt allergy is also often diagnosed in 'non-occupational' patients. Exposure of consumers is largely unexplained. To present the analytical results on cobalt release from earrings and piercing jewellery sampled in a German Federal surveillance scheme. Two German state laboratories analysed cobalt release, after immersion in artificial sweat according to EN 1811, along with nickel release in 87 pieces of jewellery, which were mostly taken apart for separate examination of piercing posts (n = 139), clasps (n = 51), and/or decorative items (n = 52). The distribution of cobalt release was described by the use of Kaplan-Meier analysis, taking into account that the majority of measurements were left-censored, that is, below the limit of quantification. Thirty-eight of 87 earrings and piercing jewellery items had at least one part releasing cobalt. The median cobalt release was estimated as 0.013 µg/cm(2) /week, and 75% of parts released up to 0.085 µg/cm(2) /week. Release varied somewhat between the three parts, with, for example, 22.1% of posts releasing ≥ 0.2 µg/cm(2) /week. Cobalt release from earrings and piercing jewellery, in particular from piercing posts, is considerable. Scientifically based exposure limits should be set, as in the case of nickel.

Repair, Recycle or Re-use? Creating Mnemonic Devices Through the Modification of Object Biographies During the Late Bronze Age in Switzerland

The biographical approach has been applied to many studies of European prehistoric metalworking which frequently discuss the potential for recycling metalwork through melting to create new objects, drawing influence from the many ‘founders hoards’ known from across Europe. An agglomerate of half-molten bronze objects from Switzerland suggests that such recycling practices occurred there, although previous archaeometallurgical analysis has indicated that such practices were temporally limited. This article focuses on an alternative form of recycling — the direct conversion of one object into another through cutting and reshaping — observed on several razors from Late Bronze Age (LBA) lake-dwelling contexts in Switzerland. Atypical decorative motifs on these razors identify them as having been cut from arm- or leg-ring jewellery pieces. It is suggested that these ‘ring-razors’ were valued as individualized objects and created as personal mnemonic devices.

A study of the composition and microstructure of silver hoards from Tel Beth-Shean, Tel Dor, and Tel Miqne, Israel

The chemical composition and microstructure of objects excavated in three hoards from the end of the Late Bronze and Iron Age sites in Israel were studied using energy-dispersive x-ray fluorescence analysis and optical metallography. The objects are industrial in origin (scrap or jewelry pieces) and include differently shaped ingots, mainly so-called hacksilber, in various sizes. The primary composition is Ag with typically several percent of Cu and Au and less than 1 % of Pb. The concentrations of these metals in each hoard differ significantly. The microstructure of the hacksilber ingots shows a typical dendritic as-cast structure and a surface cold work deformation, probably caused by chiseling the ingot piece off a larger cast bar. Relatively high concentrations of Au, as in the above samples, were observed previously in Egyptian ancient silver which differs from the ancient Greek silver that contains a significantly lower Au content.

On the hot pressing of coloured high-gold alloys powder compacts applied to the manufacturing of innovative jewellery items

Innovative design through colour has always been a very important feature in decorative items, jewellery inclusive. The use of coloured gold alloys (e.g. red, white, green) in the manufacture of jewellery artifacts is nowadays generalized, and one can often see jewellery items that combine more than a single colour. However, multi-coloured jewellery artifacts are generally made of parts produced separately and bonded together in a later step. The ability to produce jewellery sub-components or final pieces using a powder metallurgy process aimed at producing innovative multi-coloured gold jewellery items with colour gradients is explored in this paper. Four 19.2 ct coloured gold powders (yellow, green, red and white) were hot pressed at different times and temperatures and the resulting samples were analyzed in terms of their microstructure, hardness, porosity, microstructure and optical properties. A manufacturing route to obtain multi-coloured jewellery pieces with colour gradients is also presented.

Egyptian faience and rose gold at Mochlos, Crete

The Mycenaean necklace found in a tomb in the Limenaria cemetery at Mochlos, Crete, consists of a row of faience beads and a central gold bead, and it is dated to the LM IIIA period (about 1400–1300 BC). Studies on faience have shown that different production technologies were used in this period: efflorescence, cementation and direct application methods. The efflorescence method was used in Egypt. The manufacture of the faience from Mochlos indicates an Egyptian origin, but the shape and the style are Aegean. The gold bead shows a deliberately applied rose patination on one side and a normal golden colour on the other. The analyses showed that the composition of the pink film is very similar to that on Tutankhamun’s sequins. The technique of colouring gold is known from objects found in royal tombs in Egypt. This piece of jewelry shows, like the faience, a strong Egyptian technological influence.

Bezoar stones, magic, science and art

Abstract Bezoars were introduced into Western medicine by Arabian doctors during the twelfth century. They were used as antidotes to arsenic, the poison used most commonly in European courts. The use of bezoars was widespread during the sixteenth century, and their value was ten times more than their weight in gold. These were rare and expensive items and many kings owned one or more specimens, some of which were mounted as pieces of jewelry. Sixteenth and seventeenth century physicians wrote extensively about them, describing their properties and use. ‘Oriental bezoars’ (mostly from Asian porcupines) were introduced at this time. Difficulty in obtaining bezoars led to the production of numerous dangerous counterfeits containing highly toxic substances including cinnabar, quicksilver and antimony. Possibly for these reasons, their use declined at the end of the seventeenth century and from 1800 onwards, they were no longer used. In strict mineralogical terms, bezoars are not actually stones. However, the Flemish mineralogist and physician, Anselm Boetius de Boodt (1550–1632) included them in his work Gemmarum et Lapidum Historia (History of Gems and Stones , 1609 ) and their study is an important chapter in the history of toxicology.

A 14. századi anyagi kultúra tükröződése Magyarországi Klemencia halotti inventáriumában

This article investigates the inventory of belongings owned by Clémence of hungary, queen of France. the inventory, created after her death, lists within 748 „items” the estates of Clémence, and the exact prices for which they were sold. among others, descriptions of various pieces of clothing, jewellery, religious and secular pieces of art, numerous horses and chariots, and even the royal tablewear are kept by this interesting source of 14th century culture history.