Journal articles on the topic 'Contemporary Jewellery'

The article deals with the peculiarities of the use of titanium in jewellery and costume jewellery. It is shown, under what conditions products, where titanium is used, are jewellery, and under what conditions, costume jewellery. Advantages and disadvantages of titanium jewellery and peculiarities of its design, production and operation are considered. It is shown that for several years leading jewellery brands have been successfully using titanium for production of advanced collections. Some examples are given. Contemporary Russian jewellers also keep up with the leading jewellery brands, demonstrating pieces made of titanium of advanced design. It is shown that though fashion for titanium products is not widespread, but unique items of titanium jewellery are more often gaining their admirers.

From the aesthetic point of view, the function of contemporary art jewellery is a muti-dimensional form of expression, which goes beyond the definition of traditional jewellery and is displayed through visual, auditory, tactile sense and other artistic forms. As an intuitive art symbol, the paper conveys the attitude of contemporary art jewellery from the aspects of emotion, attitude, national culture, etc., and expounds the manifestations of the diversified functional characteristics of contemporary art jewellery, aiming to explore the multi-dimensional manifestations of contemporary art jewellery under the aesthetic background, and explore the diversified material forms of art jewellery. It provides more theoretical reference for contemporary art jewellery design and injects new inspiration.

The article focuses on exploring “bird’s eye view” theme in jewellery design. Writer describes the progress of how to get inspiration from the works of temari ball artist Tatiana Vigdorova and Korean contemporary jewellery artist Mi-sook Hur, and using those ideas to create personal jewellery series with “bird’s eye view” theme.

With the increased prevalence of digital technologies in our everyday lives, the questions posed to the contemporary craft practitioner regarding creation of an emotionally resonant interaction between the digitally enhanced object and its wearer have become progressively more prominent in the applied arts. Through examining the notion that human biology is a part of material culture, where the body can be shaped, customised or altered through surgical intervention and scientific innovation, this extended abstract explores how recent developments in material science and wearable technologies can be viewed as contiguous rather than oppositional to the organic processes of the human body and how to bridge the gap between the craft practitioner and scientific discovery. More immediately however, this research project challenges the perception of smart materials and their application within the field of contemporary jewellery in both an artistic and scientific context through proposing the development of symbiotic stimulus-reactive jewellery organisms. Potential practical applications of these jewellery objects exist in the areas of human–computer interaction, transplant technology, identity management and artificial body modification including prosthetics, where such symbiotic jewellery organisms could be used to develop visually engaging yet multifunctional enhancements of the body.

The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).

While few surviving jewels can be identified with any certainty as English work of the sixteenth or early seventeenth centuries, much descriptive evidence exists in the form of inventories and lists of gifts of jewels and plate exchanged between the sovereign and the courtiers each year on New Year's Day. A further fruitful source of information lies in the many contemporary portraits, those of ladies usually showing them with a lavish display of jewellery. Such jewels cannot, however, be claimed as certainly of English make; jewellery was an article of international commerce and much was imported.

The past few decades witnessed some developments that have left a permanent mark on the life style and costumes. The traditional costumes, jewellery and other accessories as well as a traditional lifestyle have been adversely affected by various factors of the social change process and vanished into the antiquity. It is significant to document this heritage for posterity and conservation of our age-old rich traditions. The purpose of this study was to explore and document the attire of Bagri females of North Western India. Interview questions were mainly focused on specific information related to the upper and lower garments, headdresses and jewellery and body decoration. Findings of the study revealed that most preferred traditional dresses of Bagri females were Aangi, Jamper, Ghaghro, Bugiyo, Sunkukdo, Chundadi and Pila. In the fashion market, there are some contemporary designs of dresses and jewellery available which shows similarity with Bagri attire.

Using Acker’s concept of ‘inequality regimes’, this article examines the practices and processes of gender inequality in the Birmingham Jewellery Quarter, highlighting the complex and subtle nature of discrimination sometimes at play and the strategies used by those who progress within this context. The project involved in-depth interviews during which participants recounted their career stories. Our research study examines the ways in which men and women in the Birmingham Jewellery Quarter account for their careers in order to examine the underlying gender regimes that influence the everyday practices of workers in this context. Our findings suggest that contrary to contemporary images of the creative industries, jewellery making remains deeply traditional with structures and processes that both overtly and covertly disadvantage women workers. Empirically, this article enhances our understanding of the way that this creative cluster operates and examines how that disadvantages particular groups of workers. Theoretically, this article contributes to our knowledge of the use of the concept of gender regimes at a cluster level.

The goal of this practice-based research is to create new interpretations of traditional Omani Bedouin crafts to inform the creation of contemporary jewellery. According to observations made during fieldwork with settled Bedouin craftspeople, traditional Bedouin methods for tanning leather (using plant materials such as Galqa and Qarat) and the production of leather thread for weaving are described, as is the use of weaving techniques in the production of Shaabook (headpieces), Hebla (leather belts), and traditional homemade decorative trims (Talli, Siim, and Suffah). A collaborative/co-creation workshop with a group of settled Omani Bedouin in North Eastern Oman served as the basis for this research. Participants in the workshop had a variety of traditional weaving techniques under their belts. Working in teams, the participants wove modular elements that were then combined to form a neckpiece. Using reflective analysis, the issue of hybridity is investigated in order to establish a link between the past and the present in the creation of contemporary Omani jewellery pieces.

When his sister Princess Henrietta Maria left France in 1625 to marry Charles I of England, King Louis XIII provided her with a magnificent trousseau which included furniture, carriages, garments and jewellery. The seventeenth-century French text was translated into English by this author for Erin Griffey's publication on Henrietta Maria. 1 Using contemporary paintings and sumptuary accounts, this article examines the gowns listed in Henrietta Maria's inventory and considers problems inherent to the translation of seventeenth-century dress terminology. It also sheds important light on an understudied period of French court dress.

Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.

As a complete recovery from the COVID-19 pandemic crisis does not seem possible in the near future, the survival of many creative professions is under threat in Russia and other countries. Strict anti-pandemic measures were introduced in Moscow at the end of March 2020 and lasted for a little more than two months. One of the main requirements was to work from home and go outside as rarely as possible. Most Russian creative professionals such as photographers, makeup artists, actors, musicians, stand-up comedians and television hosts found themselves in very unfamiliar conditions since their work presumes physical contact with other people. However, even artists who usually work alone like jewellers or designers met with came across practical and psychological difficulties as well and had to adapt to the new order. This research focuses on two examples of creative work during the COVID-19 pandemic: Russian jewellery designer Katia Rabey’s project ‘Quarantine Rings’ and the participation of Russian makeup artist Yulia Rada in virtual commercial photo-shoots. I am interested in how the artists perceived the changes introduced as a result of the pandemic and how these changes emphasized the digital side of contemporary creative labour. Despite the differences in the challenges that the two artists met, both of them stressed the importance of social closeness.

Abstract: Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.

The paper presents an investigation of forms, ornaments and colors in Minoan female costume and arts (Minoan, Mycenaean and Aegean artefacts) with a main purpose of their application in contemporary fashion design. The analysis of the studied artefacts shows that the basic silhouette and the shapes of element and pieces, ornaments and colors in Minoan, Mycenaean and Aegean female costume, presented in statuettes, frescoes and jewels, and the ornaments and colors of Minoan, Mycenaean and Aegean frescoes, ceramics, and jewellery can be applied in the design of modern ladies’ clothing, jewels and accessories. On the base of the results of the investigation designs of seven fashion ensembles of ladies’ dresses in combinations with suitable jewels and bags have been created.

The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.

AbstractThis paper synthesises and analyses archaeological data on the Nitrianska Blatnica II hoard of metal artefacts (Ha C1a; 800–725 BC) from the hilltop settlement of Marhát. Currently, this is the largest metal deposit from the Final Bronze Age in Slovakia, providing a fundamental chronological synchronization of the Ha C1a sub-phase with Northern Italy and Central and Southeastern Europe. A spectral analysis of the serial circular jewellery shows a uniform origin from a unique metallurgical workshop and contributes to the scientific discussion with important data on economic operations in the Carpathian Basin. The closest analogies to the bronze vessels and gold cylindrical earrings come from the most important contemporary sites of the Hallstatt and Mezöcsát cultures and stimulate the notion of a large intercultural trade in prestigious goods and the practices of the aristocratic population of the Final Bronze Age in Central Europe.

In the contemporary globalised markets opinion leaders play a vital role in the process of the purchasing decision-making of consumers. Thanks to their individual skills, specific knowledge or their personality, opinion leaders have a direct or indirect influence on the attitudes and decisions of consumers. In the contemporary globalised marketing using social media, this role is taken over by the influencers who affect consumers with their thoughts, attitudes and opinions and thus, significantly influence trends in demand for particular products. Over the recent years, influencer marketing has become increasingly popular, representing a specific type of social media marketing. The aim of this scientific contribution is the systematization of knowledge about the position and roles of influencers as opinion leaders in the social media environment in order to identify their typology, influence factors and the intensity of their impact on consumer decision making process, based on the comparison of knowledge from the results of global research studies and the quantitative online research study processed by authors. The findings of the survey showed that the promotion of some products through influencers may be more advantageous than others. Influencers will have the greatest impact when buying clothes, shoes, cosmetics and, surprisingly, services. Meanwhile, people rely heavily on other factors to buy food, jewellery and electronics, but it is not excluded that influencer marketing could affect them as well.

AbstractAmong the abuses experienced by children in Ireland in the eighteenth and nineteenth centuries, kidnapping and stripping stand out both for what they reveal of the changing nature of the manner in which children were preyed upon and contemporary attitudes to children and child welfare. Though it is misleadingly presented as evidence of the existence of a vibrant trade in ‘white slaves’, children were not only kidnapped so they could be ‘sold’ in the crown’s Caribbean and American colonies. They were also targeted domestically for a variety of pursuits in which children laboured – among which begging and chimney sweeping stand out. In any event, the diminished visibility of child kidnapping after the 1780s suggests it was not pursued actively thereafter. Children continued to be targeted, but the primary object of those who did so was to strip them of the clothes and jewellery they wore in order to realise the monetary value of these goods. Pursued primarily by female offenders, the fact that a majority of the reported incidents occurred in Dublin, Belfast, Limerick and Cork indicates that it was first and foremost an urban crime. Its identification attests both to the vulnerability of children to exploitation, and to the active engagement of adults in that exploitation.

AbstractThis paper aims to reappraise and evaluate central Anatolian connections with the Black Sea region and the Caucasus focusing mainly on the third millennium BC. In its first part, a ceremonial item, the knobbed or ‘mushroom’ macehead, in its various appearances, is discussed in order to reconstruct a possible pattern of circulation and exchange of shapes and values over a longer period of time in the regions of Anatolia, southeast Europe and the Caucasus in the third and late second to early first millennium BC. The second part is devoted to the archaeometrical study of selected metal and mineral artefacts from the Early Bronze Age necropolis of Resuloğlu, which together with the contemporary settlement and graveyard at Kalınkaya-Toptaştepe represent two typical later Early Bronze Age sites in the Anatolian heartland. The high values of tin and arsenic used for most of the smaller jewellery items are suggestive of an attempt to imitate gold and silver, and the amounts of these alloying agents suggest a secure supply from arsenic sources located along the Black Sea littoral in the north and probably tin ores to the southeast of central Anatolia. This places these ‘Hattian’ sites within a trade network that ran from the Pontic mountain ridge to the Taurus foothills.

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.

This ethnographic study seeks to position Turkish women within the lucrative global bridal industry, which is today heavily influenced by the style, aesthetics and consumer values of the American wedding. It will add to the existing literature by examining Turkish brides’ participation in transnational networks that promote the commodification of weddings in Turkey – a country where, for many, weddings were until quite recently low-budget affairs designed to maximize newlywed profits. We will explore how such networks establish and reinforce bridal rules and codes through wedding props such as gowns, cakes, jewellery, flatware, china and honeymoons. By unpacking the complexities, symbolism and meaning of the contemporary Turkish bride, we will move beyond simple binaries to examine how tradition and modernity overlap and intersect and how modernity is an intrinsic part of the evolution of traditional Turkish wedding practices. This study will also critique processes of (American) cultural assimilation and reveal how Turkish brides are negotiating western trends, influences and the ‘wedding-industrial complex’. Through lifestyle marketing and other industry practices, these networks are prescribing how Turkish women – regardless of their socio-economic and ethnic backgrounds, educational and class status and cultural and religious beliefs – should perform the bridal role. Moreover, because of its ties to aesthetics, style and fashion, the lavish American-style wedding has also become the ultimate platform for the display of purchasing power in Turkey – a way to replicate the conspicuous consumption of the wealthier, leisured classes that, for many Turks, has become synonymous with modernity and elevated social status.

AbstractKoran manuscripts that fit comfortably within the palm of one’s hand are known as early as the 10th century CE.For the sake of convenience, all dates will be given in the common era (CE) without further mention, and not in the Islamic or Hijra calendar. Their minute and sometimes barely legible script is clearly not intended for comfortable reading. Instead, recent scholarship suggests that the manuscripts were designed to be worn on the body like pendants or fastened to military flag poles. This is corroborated by some preserved cases for these books which feature lugs to attach a cord or chain, but also their rare occurrence in contemporary textual sources. While pendant Korans in rectangular codex form exist, the majority were produced as codices in the shape of an octagonal prism, and others as scrolls that could be rolled up into a cylindrical form. Both resemble the shapes of similarly dated and pre-Islamic amulets or amulet cases. Building on recent scholarship, I will argue in this article that miniature or pendant Koran manuscripts were produced in similar forms and sizes because of comparable modes of usage, but not necessarily by a deliberate imitation of their amuletic ‘predecessors’. The manuscripts’ main functions did not require them to be read or even opened; some of their cases were in fact riveted shut. Accordingly, the haptic feedback they gave to their owners when they carried or touched them was not one of regular books but one of solid objects (like amulets) or even jewellery, which then reinforced this practice.

Lepenski Vir is an archaeological site of extraordinary international significance; an area where exceptional culture and specific art, which took place within organized social and religious life, emerged as unique in Central and South-Eastern Europe (6800-5400 BC, according to the date C14). The methods and complexity of the architecture of these buildings, their sustainability and energy efficiency, as well as the treatment of the associated monumental sculptures, clearly define the stages of settlement over a period of at least two thousand years. Today, it is even possible to say that people in those ancient times were even more instructed in the issues of nature and her whimsicality than we are today. Today, the site is in a natural reserve in an extremely picturesque landscape. During the archaeological excavations of the 1960s, seven prehistoric settlements were unearthed, one after the other. These settlements contain the remains of 67 apparently planned dwellings, fireplaces, tools, instruments, and jewellery. The settlements also contain altars and sculptures, carved out of round limestone pieces that are of artistic and aesthetic, as well as ritual and symbolic importance. The paper elaborates on the harmony of architectural style and natural surroundings that has been considered since the earliest times. Its aim is to analyse Lepenski Vir, one of the most significant archaeological sites in the world, i.e., the technique and the conditions under which it was created. However, as the reality of the subject is quite elusive in today's time, this paper seeks to show the value of the principles on which ancient architecture rests, primarily using natural materials and specific simple forms in design and construction. The reason for this is the inextricable link between man and nature at all times, the very essence of their interconnectedness, as well as the creation of a healthy, aesthetically valuable, and quality living space. Based on these analyses, one specific conceptual solution will be attached, i.e., the proposal of a contemporary interpretation of the ancient Lepenski Vir settlement and houses that can meet the needs of modern man and age, where millennia-old tradition is implemented in contemporary Serbian architecture. Doi: 10.28991/HEF-2022-03-01-08 Full Text: PDF

People live amidst objects, things, articles, items, artefacts, materials, substances, and stuff – described in social sciences and humanities as material culture, which denotes both natural and human-made entities, which form our physical environment. We, humans, relate to this environment by using, depicting, interacting with or thinking about various material objects or their representations. In other words, material culture is never just about things in themselves, it is also about various ideas, representations, experiences, practices and relations. In contemporary theorising about material culture, the watershed between the tangible and intangible has started to disappear as all the objects have multiple meanings. This paper theorises objects mostly in terms of contemporary socio-cultural anthropology and ethnology by first giving an overview of the development of the material culture studies and then focusing upon consumption studies, material agency, practice theory and the methods for studying material culture. Both anthropology and ethnology in the beginning of the 20th century were dealing mostly with ‘saving’; that is, collecting the ethnographical objects from various cultures for future preservation as societies modernised. The collecting of the everyday items of rural Estonians, which had begun in the 19th century during the period of national awakening, gained its full momentum after the establishment of the Estonian National Museum in 1909. During the museum’s first ten years, 20,000 objects were collected (Õunapuu 2007). First, the focus was on the identification of the historical-geographical typologies of the collected artefacts. In 1919, the first Estonian with a degree in ethnology, Helmi Reiman-Neggo (2013) stressed the need for ethnographical descriptions of the collected items and the theoretical planning of the museum collections. The resulting vast ethnographical collection of the Estonian National Museum (currently about 140,000 items) has also largely influenced ethnology and anthropology as academic disciplines in Estonia (Pärdi 1993). Even though in the first half of the 20th century the focus lay in the systematic collection and comparative analysis of everyday items and folk art, there were studies that centred on meaning already at the end of 19th century. Austrianethnologist Rudolf Meringer suggested in 1891 that a house should be studied as a cultural individual and analysed within the context of its functions and in relation to its inhabitants. Similarly, the 1920s and 1930s saw studies on the roles of artefacts that were not influenced by Anglo-American functionalism: Mathilde Hain (1936) studied how folk costumes contribute to the harmonious functioning of a ‘small community’, and Petr Bogatyrev (1971) published his study on Moravian costumes in 1937. This study, determining the three main functions – instrumental, aesthetic and symbolic – of the folk costume, and translated into English 30 years after first publication, had a substantial influence on the development of material culture studies. The 1970s saw the focus of material culture studies in Western and Northern Europe shifting mainly from the examination of (historical) rural artefacts to the topics surrounding contemporary culture, such as consumption. In Soviet Estonian ethnology, however, the focus on the 19th century ethnographic items was prevalent until the 1980s as the topic was also partially perceived as a protest against the direction of Soviet academia (see Annist and Kaaristo 2013 for a thorough overview). There were, of course, exceptions, as for instance Arved Luts’s (1962) studies on everyday life on collective farms. Meanwhile, however, the communicative and semiotic turn of the 1970s turned European ethnology’s focus to the idea of representation and objects as markers of identity as well as means of materialising the otherwise intangible and immaterial relationships and relations. The theory of cultural communication was established in Scandinavian ethnology and numerous studies on clothing, housing and everyday items as material expressions of social structures, hierarchies, values and ideologies emerged (Lönnqvist 1979, Gustavsson 1991). The Scandinavian influences on Estonia are also reflected in Ants Viires’s (1990) suggestion that ethnologists should study clothing (including contemporary clothing) in general and not just folk costumes, by using a semiotic approach. Löfgren’s (1997) clarion call to bring more ‘flesh and blood’ to the study of material culture was a certain reaction to the above focus. Researchers had for too long focused exclusively upon the meaning and, as Löfgren brought forth, they still did not have enough understanding of what exactly it was that people were actually and practically doing with their things. Ingold’s (2013) criticism on the studies focusing on symbolism, and the lack of studies on the tangible materiality of the materials and their properties, takes a similar position. In the 1990s, there was a turn toward the examination of material-cultural and those studies that were written within the framework of ‘new materialism’ (Hicks 2010, Coole and Frost 2010) started to pay attention to objects as embodied and agentive (Latour 1999, Tilley et al 2006). Nevertheless, as Olsen (2017) notes, all materialities are not created equal in contemporary academic research: while items like prostheses, Boyle’s air pumps or virtual realities enjoy increased attention, objects such as wooden houses, fireplaces, rakes and simple wooden chairs are still largely unexamined. The traditional material culture therefore needs new studying in the light of these post-humanist theories. Where does this leave Estonian ethnology? In the light of the theoretical developments discussed above, we could ask, whether and how has the material Making sense of the material culture turn affected research in Estonia? Here we must first note that for a significant part of the 20th century, Estonian ethnology (or ethnography as the discipline was called before 1990s) has mostly been centred on the material culture (see the overview of the main topics from vehicles to folk costumes in Viires and Vunder 2008). Partly because of this aspect of the discipline’s history, many researchers actually felt the need to somewhat distance themselves from these topics in the 1990s (Pärdi 1998). Compared to topics like religion, identity, memory, oral history and intangible heritage, study of material culture has largely stayed in the background. There are of course notable exceptions such as Vunder’s (1992) study on the history of style, which includes analysis of theirsymbolic aspects. It is also interesting to note that in the 1990s Estonian ethnology, the term ‘material culture’ (‘materiaalne kultuur’) – then seen as incorporating the dualism between material and immaterial – was actually replaced with the Estonian translation of German ‘Sachkultur’ (‘esemekultuur’, literally ‘artefact culture’). Nevertheless, it was soon realised that this was actually a too narrow term (with its exclusion of natural objects and phenomena as well as the intangible and social aspects of culture), slowly fell out of general usage, and was replaced with ‘material culture’ once again. Within the past three decades, studies dealing with material culture have discussed a wide variety of topics from the vernacular interior design (Kannike 2000, 2002, 2012), everyday commodities (Kõresaar 1999b) and spiritual objects (Teidearu 2019), traditional rural architecture (Pärdi 2012, Kask 2012, 2015), museum artefacts (Leete 1996), clothing, textiles and jewellery (Kõresaar 1999a; Järs 2004; Summatavet 2005; Jõeste 2012; Araste and Ventsel 2015), food culture (Piiri 2006; Bardone 2016; Kannike and Bardone 2017), to soviet consumer culture (Ruusmann 2006, Rattus 2013) and its implications in life histories (Kõresaar 1998, Jõesalu and Nugin 2017). All of these these studies deal with how people interpret, remember and use objects. The main keywords of the studies of European material culture have been home, identity and consumption (but also museology and tangible heritage, which have not been covered in this article). Material culture studies are an important part of the studies of everyday life and here social and cultural histories are still important (even though they have been criticised for focusing too much on symbols and representation). Therefore, those studies focusing on physical materials and materialites, sensory experiences, embodiment, and material agency have recently become more and more important. This article has given an overview of the three most prevalent thematic and theoretical strands of the study of material culture: objects as symbols especially in the consumer culture, material agency and practice theory as well as discussing some methodological suggestions for the material culture studies. To conclude, even though on the one hand we could argue that when it comes to the study of material culture there indeed exists a certain hierarchy of „old“ topics that relate to museums or traditional crafts and „new“ and modern materialities, such as smart phones or genetically modified organisms. However, dichotomies like this are often artificial and do not show the whole picture: contemporary children are often as proficient in playing cat’s cradle as they are with video games (Jackson 2016). Thus, studying various (everyday) material objects and entities is still topical and the various theories discussed in this article can help to build both theoretical and empirical bridge between different approaches. Therefore, there is still a lot to do in this regard and we invite researchers to study objects form all branches of material culture, be they 19th century beer mugs in the collections of the Estonian National Museum that can help us to better give meaning to our past, or the digital and virtual design solutions that can give our academic research an applied direction. Keywords: material culture, artefacts, consumption, practice, agency, research methods

Detector finds and settlement – The Eastern Limfjord in Late Iron Age and Viking timesDuring the past 30 years Danish fields have formed the backdrop for a silent revolution. Since the appearance of the metal detector in the 1970s, detector enthusiasts have succeeded in increasing dramatically the number of finds and known archaeological sites, especially from the Late Iron Age and Early Medieval period. This growth in the archaeological record has, among other things, led to a new understanding of settlement patterns and the general development of society.Despite scepticism in the beginning, and a few misleading incidents involving illegal use of metal detectors, the liberal Danish legislation concerning the private use of metal detectors must therefore be termed “a success”.This has indeed also been the case in Northern Jutland, around the Limfjord. Since the very beginning of the detector adventure the Aalborg area has yielded more new finds year on year than most other areas of Denmark, being only surpassed by Bornholm and Southeast Funen. However, despite the results they have amassed, the efforts of Northern Jutland’s detectorists do not seem to have been appreciated, and co-operation with the detectorists has not increased and improved in the manner seen in Southeastern Denmark.The many detector finds from along the Limfjord have, of course, received some attention from Danish archaeologists. ­Esp­ecially so after excavations were carried out at a couple of the major sites, Sebbersund and Bejsebakken. However, a num­ber of other sites have not yet received the same attention, even though they have yielded, and continue to yield, a substantial number of detector finds. These sites have been overlooked both in the field and in the archaeological literature. This article is an attempt to improve on the latter situation. It offers a presentation of the finds recovered so far and a preliminary analysis of the material.The material recovered by detector from the region contains a great number of single stray finds. However, several sites clearly orientated towards the coasts of the Limfjord are characterised by much richer find assemblages (fig. 1). These sites are the main subject of this article, with particular focus on Late Iron Age material.In general, the detector sites seem all to represent settlements, but when trying to analyse the detector finds and sites we are still faced with some fundamental questions. For example, it is obvious today that there is remarkably poor correlation bet­ween the overall distribution of metal obj­ects and the settlement structures on the sites.Thanks to the detectorists it is now possible to draw a fairly credible picture of the Late Iron Age settlement pattern around the Eastern Limfjord. This picture shows a remarkably dense concentration of rich settlements in a generally densely populated coastal zone. However, when compared to the areas rich in detector finds in the southeastern part of Denmark and Scania, this picture reveals one remarkable difference: the lack of a main centre.The landscape and the sitesApart from drainage of low-lying meadows and a few shallow areas along the coast, the landscape alongside the Eastern Limfjord in the Late Iron Age resembled that of the present day. The eastern part of the Limfjord formed a narrow, winding channel, and both the northern and the southern coast consisted of wide foreshores, replaced a little further inland by moraine hills. The hills stood isolated from each other and the mainland by small rivers and low-lying, wet meadows which were flooded by the sea in the Stone Age. Øland and Gjøl actually remained islands until the 19th century when farmers succeeded in draining the shallow waters between the hills and the mainland.North of the fjord, the lowlands behind the hills continued for several kilometres. South of the fjord, these wet meadows were, after a few hundred metres, typically replaced by a hilly landscape dissected by river valleys.Further to the west, the fjord at that time apparently offered two different sailing routes in and out: one to the west and a one to the northwest, through the Sløjenkanal.The latter has completely disappeared today and investigations suggest that the mouth of this channel silted up during the 1st century AD. However, place names, historical records and archaeological finds indicate that the channel still played an import role during the Viking Age. Most likely the ships where simply carried over the sand bank at its mouth.The rich detector sites dealt with in this article are Øland, Gjøl, Lindholm Høje, Humlebakken, Postgården, Thulebakken, Bejsebakken, Sofiendal/Gammel Hasseris, Nørholm, Mellemholm and Sebbersund. All but one are located on the top of the distinctive moraine hills along the Limfjord, lying typically between 1 and 3 km from the actual coast. In contrast to the other sites, Sebbersund is located on a small pen­insula directly on the coast of the Limfjord, by the entrance to a small lagoon.The extent to which the sites have been subjected to archaeological investigation varies considerably. Extensive excavations have been carried out at Lindholm Høje, Sebbersund, Postgården and Bejsebakken. The latter has been almost totally excavated.Minor excavations have been carried out at Humlebakken, Thulebakken and Sofiendal/Gammel Hasseris – whereas the history of Øland, Gjøl, Mellemholm and Nørholm is characterised by an almost total lack of archaeological activity, apart from the topsoil surveys performed by the detectorists.The metal finds – chronological tendenciesSince the only properly registered detector finds from the sites on the Eastern Limfjord are those designated as treasure trove, only these finds are included in this analysis. However, changing criteria for the designation of treasure trove have clearly affected the composition of the find material in question. The increasing number of detector finds has forced the National Museum to tighten up the designation criteria. This has led to the situation where many finds which previously were declared as treasure trove are now returned to local museums and the finders (fig. 4). Consequently, fewer finds from the more recently discovered detector sites have been declared treasure trove, making comparison with the finds from “older” sites very difficult.Bronze brooches constitute by far the greatest part of the material chosen for this study. Out of 709 finds, 478 are brooches – corresponding to 67.5 %. The earlier detector finds available show little typological variation, whereas variation clearly increases in finds from the later part of Late Iron Age and, especially, the Viking Age, from which there is a wide range of metal artefacts (fig. 5).In order to compare the chronological composition of the material from the different sites, I have produced a series of diagrams based on the number and dating of the brooches from each site (fig. 6.). With a few exceptions, the diagrams give an impression of marked continuity in the flow of metal objects at the sites and, in most cases, an increasing circulation of metal objects during the Late Iron Age, reaching a peak in the Late Germanic Iron Age. However, this peak is somewhat artificial since it is mainly due to the fact that only brooches have been included in the analysis. Had the entire range of finds been included, this would have shown that circulation of metals continued to grow through­­­out the Viking Age.Øland, Gjøl and Sebbersund do not fit this picture of continuity. The detector finds from these sites consist, almost exclusively, of objects from the Late Germanic Iron Age and Viking Age. However, Øland and Gjøl belong to the most recently discovered detector sites and the finds from them can hardly be expected to give a fully representative picture of the metal objects present in the soil here.In contrast, Sebbersund is a well-known “old” site and a similar, but more thorough, analysis of the brooches from the site, including the ones recovered during excavations, has produced the very same result. Activities at Sebbersund seem, therefore, to have been very limited in the Germanic Iron Age, before blossoming in the Viking Age and then ceasing almost completely around AD 1100.Furthermore, on the topic of continuity, the finds from all the rich detector sites on the Eastern Limfjord also include various amounts of medieval artefacts and, in most cases, early medieval churches or monasteries are located nearby. Activities on these sites carried on well into the medieval period.The distribution of the finds – size and structure of the sitesHalf of the rich detector sites on the Eastern Limfjord have been subjected to excavation and in all cases settlement remains were revealed. Similar excavations in other parts of Denmark have shown the same pattern and it seems safe to assume that the metal items present in the topsoil at the rich detector sites analysed in this article are the result of settlement remains under degradation.Furthermore, since cremation graves were the dominant burial type during a major part of Late Iron Age in Northern Jutland, one would expect to find a large number of fire-damaged metal objects among the detector finds if these originated from burial sites. This is not the case.The quality of the information on find site varies greatly from find to find and the recorded geographical information presents little opportunity for inferences to be made concerning the structure of each site. However, the overall distribution of the finds clearly poses an interesting problem. On all of the rich sites, with the exception of Sebbersund, the metal objects lie scattered over huge areas. These are far greater than those which can be expected to conceal traces of prehistoric settlement. The detector site on Nørholm hill is the largest so far, covering approximately 400 acres.The Bejsebakken case underlines the phenomenon; this settlement has been almost totally excavated. If the extent of the settlement is compared with the distribution of detector finds from the hill it is obvious that there is a concentration of metal objects recovered from the topsoil above the remains of the settlement, but it is equally clear that a considerable number of finds have been detected outside this area (fig. 7).The large number of metal objects found outside the area with archaeological remains of the settlement probably reflects some sort of adjacent activity area connected to the farmsteads on the top of the hill. However, the area in question covers several acres. In my opinion it seems most likely that the surprisingly wide distribution of the metal objects is due to the use of settlement waste as manure on the fields in the vicinity of the farmsteads.A wide distribution of the detector finds is, incidentally, a very common phenomenon. Along with a similar topographic setting, this feature is shared by almost all the large detector sites on the Eastern Lim­fjord. It therefore seems likely that agriculture played an important role in the economy of these settlements.Only the settlement at Sebbersund does not conform to this picture. In contrast to the other sites, the detector finds here seem to be concentrated within an extremely limited area. This situation, however, corresponds well with the excavation results from the 1980s which led to the interpretation of the settlement structures as remains of a trading place without traces of any ordinary agrarian settlement.Crafts and TradeObviously, only a very limited number of the activities which took place at the Iron Age settlements can be revealed by the use of metal detectors. However, a few of the metal objects indicate the presence of metal crafts and trade.Generally, the direct indicators of trade are sparse. Means of payment such as coins and pieces of silver are rare and only Sebbersund has yielded a significant number of balance weights. Furthermore, all of the finds belonging to this category are from the Viking Age. However, a substantial number of foreign metal objects clearly point to the fact that the sites on the Lim­fjord were part of a far-reaching communication network (figs. 8 and 9). Excavations at several of the sites have also recovered various imported goods, and trade must have been a common phenomenon.The imported finds seem to reflect a contact network which evolved through time. In the Germanic Iron Age, the network seems mainly to have covered the rest of Scandinavia, whereas the British Isles and the northwestern part of Continental Europe, especially the area around the mouth of the Rhine, were clearly also included in the Viking Age. However, not only the direction of the traffic seems to have evolved. When looking at the number and character of the objects found on the sites, it seems obvious that the traffic increased in the course of the Late Iron Age and that trade in bulk goods began and expanded through the Viking age.Crafts are generally poorly represented in the detector finds. A few items, such as raw materials in the form of small pieces of gold and silver, half-finished brooches, a matrix for the production of bracteates and three identical brooches at one site, indicates the in situ production of jewellery at the sites. This conclusion is also supported by the fact that several types of brooches and some ornamental elements exclusively or mainly occur on the Eastern Limfjord.As could be expected, a much broader spectrum of crafts has been demonstrated through excavations at some of the sites and, apart from showing the traditional variation of crafts, the excavation results generally seem to demonstrate a marked focus on the production of textiles. At Sebbersund and Bejsebakken the number of pit-houses exceeds several hundreds and the majority of these were clearly used for the production of textiles. This production must definitely have exceeded what could possibly have been needed loc­ally.Regional settlement pattern and interpretation of the rich sitesAt present, it is only possible to draw a fairly credible picture of the Late Iron Age settlement pattern on the Eastern Lim­fjord by including the considerable number of single detector finds from the region. On this basis, the area seems to have been quite densely populated with a series of richer settlements along the coasts of the fjord (fig. 11).The lack of inland settlements equally rich in metal finds seems to indicate that the coast-near settlements on the fjord served, in some respects, as central places relative to the settlements further inland.It is obvious that the circulation of metal objects varied considerably from settlement to settlement and from period to per­iod. Despite these variations, none of the detector sites has so far yielded an assemblage which allows us to assign any of the settlements to a position elevated markedly above the others in the settlement system for the region. However, the considerable variation in the number of finds from the different sites clearly points to the fact that some settlements were more successful than others. This seems to have been very much the case on the Nørholm and the Bejsebakken hills, especially in the Late Germanic Iron Age, during which the circulation of metal objects here accelerated markedly relative to the other sites.The lack of a pronounced main centre in a generally wealthy region stands in remarkable contrast to contemporary settlement patterns known from the southeastern part of Denmark and Scania. These latter areas were apparently characterised by a society of a much more hierarchical nature and by settlement patterns including easily recognisable centres mainly characterised by extreme concentrations of rich gold and silver finds along with the presence of unusual imports.The development of a highly stratified society seems, therefore, to have proceeded at a somewhat slower pace in the Lim­fjord region. Together with the growing importance of the Limfjord for communication, this led to the characteristic settlement pattern which included a large number of settlements of centre-like character located along the coasts of the eastern part of the fjord in the Late Iron Age.Torben Trier ChristiansenAalborg Historiske Museum

Abstract According to the previous studies the role of Omani women in shaping and developing the identity of the traditional jewellery is very limited. Therefore, this study aims to find out the extent to which Omani women have actually played a role in shaping the identity of traditional jewellery through a specific headdress. During the fieldwork, the researcher started to explore how social contexts relate to traditional and cultural identity, by interviewing the owners of jewellery and craftsmakers involved in jewellery production such as the expert women who made the traditional headdress (shaabook). The researcher began to understand the value and importance of leather and to explore potential design inspired by smell, weight, sound, and storage of jewellery. In contemporary jewellery, the material used can be a prominent part of the overall concept. Such material is frequently the core of the art piece. The researcher explored traditional materials such as leather which inspired him to create jewellery. The material itself became a focal point of the researcher work and a tool to convey his concept. The use of leather in the work became a central concern in designing, making and as a symbolic reflection on the Bedouin community identity. Keywords: headdress, Omani jewellery, leather, Shaabook, Nis’ah, Shabkah. الملخص على الرغم من إعتبار صناعة المجوهرات العمانية التقليدية واحدة من الحرف التي لا تقدر بثمن في التراث الثقافي للسلطنة، إلا أن المجوهرات المعاصرة تم تجاهلها. ولم تتم دراسة دور المرأة في إنتاج المجوهرات العمانية التقليدية. وبشكل عام فقد تجاهلت الدراسات السابقة الأجزاء الجلدية المستخدمة في صناعة المجوهرات التقليدية العمانية. إن دور المرأة العمانية في تكوين وتطوير هوية المجوهرات التقليدية محدود للغاية. ولذلك فإن هذه الدراسة تهدف إلى معرفة مدى الدور الفعلي الذي لعبته المرأة العمانية في تكوين هوية المجوهرات التقليدية. كما تسعى الدراسة إلى تفسير هذه المجوهرات البدوية التقليدية من خلال ممارسة المجوهرات المعاصرة. المنهجية المستخدمة في هذه الدراسة هي البحث القائم على الممارسة والمبني على المعرفة التي تم تطويرها من خلال العمل الميداني. وتضمنت الدراسة استخدام البحث الإثنوغرافي أيضا. وقد كشف العمل الميداني عن منطقة لم يتم استكشافها من قبل لاستخدام الجلد البيئي في صناعة المجوهرات العمانية التقليدية. فقد مكّن التفاعل مع النساء البدويات من تسجيل تقنيات المعالجة الحرفية التقليدية وإنتاج عينة من المواد. وأدت الأفكار المكتسبة من هذا البحث إلى تطوير هيكل من المجوهرات المعاصرة في إطار موضوع المجوهرات والمواد. الكلمات المفتاحية: لباس الرأس, المجوهرات العمانية, الجلد, الشابوك, النسعه, الشبكة.

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.

Abstract The collection of the Asiatic Society, Calcutta, preserves a manuscript titled Risala-i-Padakah which was formerly in the library of the ruler of Mysore, Tipu Sultan (d. 1799). This manuscript has descriptions of medals with drawings illustrating their forms. We investigate the design of these medals and assert that Tipu Sultan understood the importance of rewarding his loyal subordinates with medals, thus transferring his authority down to them. The ‘People's Medals’ given to non-combatants, a novel award for those times, are also covered here in detail. We show that some of these medals, reflecting Deccan jewellery traditions, were actually awarded by Tipu Sultan himself to his men, who wore them; and we draw attention to the plunder of these medals, along with other treasures, during the sack of Seringapatam. The authors also view this as a demonstration of Tipu Sultan's regard for loyalty, rank, as well as good governance in opposition to estimates of him by contemporary British biographers. This article is the first documentation of these medals, which were the earliest to be awarded by any state in pre-modern India.

The objective of my doctoral research is to interpret the meaning of thecostumes of female figural depictions on the walls of Banteay Srei and ofother contemporary buildings erected in the 10th century. This study couldhopefully also shed new light on the hitherto unsatisfactorily solved questionof the dating of the construction periods of the Banteay Srei sanctuary. Thearchitectural and art historical research of Banteay Srei temple has been afundamental topic in Angkorean research for decades. In 2013 and 2014, I spent altogether six months in Angkor to collect allthe data of the carved and sculpted costume depictions belonging to the socalled Banteay Srei style. I established a complete catalogue of more than550 figural depictions found on site on the walls of Banteay Srei templecomplex (including all human and mythological figures which are depictedwith clothes or jewellery), and also other contemporary edifices found currently in Cambodia and Thailand, as well as in different museum collections all around the world. With the help of this database, I interpreted thedepictions in their cultural, religious, architectural and narrative context. In order to achieve my field research it was crucial to obtain an officialresearch permit issued by the APSARA Authority, the state institution thatis responsible for protecting the Angkor monuments. As a result of my personal presentation, I got the generous support of the Authority and I gainedaccess to several sculptural collections, as well as researchers’ and museumcollection databases. The personal collaboration with young researchers working at the APSARA Authority has made it possible for me to visit and document various monuments in remote areas. To access these ruins, we manytimes relied on the local people, mainly kids, even though we were wellprepared and well equipped with modern navigational knowledge and tools.In addition to the scientific documentation, the greatest achievement of theseresearch trips was that I have learned to trust the guidance of the ’local world’.

AbstractAncient brass (aurichalcum) was a valued commodity in the Antiquity, notably because of its gold-like appearance. After mastering brass fabrication using the cementation procedure in the first century BC in the Mediterranean, this material became widely used by the Romans for coins, jewellery and other artefacts. Because of its visual qualities, it is believed that since this period, brass played an important role in diplomatic and economic contacts with indigenous communities, notably Celtic and Germanic tribes north of Danube and west of Rhine. To test this hypothesis, we performed for the first time the advanced statistical multivariate analysis based on chemical composition and lead isotope systematics, coupled with informed typo-chronological categorisation, of a suite of late Iron Age and Early Roman period (first century BC – first century AD) brass and other copper-alloy artefacts from the territory of Bohemia. In order to to discuss their provenance, the results were compared to known contemporary sources of material. The new results for brass artefacts from this early phase of the massive occurrence of Roman aurichalcum in the Barbarian territories point to the ore deposits in the western Mediterranean or the Massif Central area in Gaul, consistent with historical events. These new findings underscore the great economic and political importance of the new and rich mineral resources in the Transalpine Gaul acquired due to Caesar's military campaigns.

The fur and fur patterns of African animals were part of the fashion industry’s exoticization of Africa during the 1920s. Avant-garde interest in African sculpture, African textiles and African jewellery blended with the popularity of jazz music played by African Americans to create a market for fashionable clothing inspired by Africa. Using fur from African animals, and textile prints and embroideries imitating fur patterns, reflected the most consistent interest in Africa. African safaris, world fairs and colonial expositions displaying African animals contributed to African exoticism. Books for children, textile designs illustrating African elephants and examples of fabric dyed colours called ‘lioness’ were some of the resulting consumer products. The graphic fur patterns of leopards, giraffes and zebras perfectly suited the bold geometric aesthetics of the Arts Modernes design style, while the fringe-like quality of monkey fur met the trend requirements for fringed evening wear. Zebra fur and patterns played a feminizing role in mediating the increasingly masculine dress and activities for women. The graphic black-and-white stripes linked the wearer to the exotics and adventure of Africa, while also reflecting contemporary design aesthetics and the hard-edged, chaotic American city. Because the zebra stripe originates on the fur of a peaceful prey animal, the pattern was perceived as graceful and feminine. For the modern women who wanted to participate in the adventures of the era, wearing zebra stripes tempered the interpretation of her wild life in the American urban jungle without compromising her femininity.

Purpose This paper aims to discuss how over the past 180 years, a succession of largely unrelated entrepreneurs of differing capabilities have either created or recognised and exploited opportunities offered by this enduring company, their heritage and brand. Design/methodology/approach Primary data was provided from discussions with Fabergé experts and the new owners of the brand. Extensive secondary data was also used and analysed. Findings The original Fabergé creations numbered some 200,000, but their creator is remembered best for 65 unique Imperial (and other) Eggs. Many pieces have survived, although the business disappeared in 1917. Since then, dealers and collectors have intervened symbiotically to protect the brand equity – supported by serendipitous popular cultural interventions – although a series of parallel entrepreneurial but parasitic interventions meant the brand and the original products became separated. This changed in 2007 with new owners acquiring the brand and resurrecting high-end jewellery production with a new business model. Their contemporary journey is both informed and shaped by Fabergé’s tumultuous past. Research limitations/implications Reinforces that while a universal theory of entrepreneurship eludes us that these three key elements – opportunity, uncertainty and resources – help explain the related behaviour of a series of different intervening entrepreneurs. This framework is offered for wider use and testing. Practical implications Advances the understanding of how entrepreneurs spot and enact opportunity. Originality/value Develops a model embracing parasitic and symbiotic interventions in the history of a brand, and a conceptual entrepreneurial model capturing three key elements that explain entrepreneurial behaviour. These being: opportunity seeking and exploitation, addressing uncertainty and deploying appropriate resources.

Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson). This case study uses Tiffany & Co. as a successful example to reveal the importance of understanding consumers, the influential nature of media culture, and the efficacy of strategic branding, advertising, and marketing over time (Holt). It also reveals how Tiffany & Co. earned and maintained its place as an iconic cultural brand within consumer culture, through its strong association with New York and products from abroad. Through its trademarked logo and authentic luxury jewellery, encompassed in the globally recognised “Tiffany Blue” boxes, Tiffany & Co.’s cultural significance stems from its embodiment of the expected makings of a brand (Chernatony et al.). However, what propels this brand into what Douglas Holt terms “iconic territory” is that in its one hundred and seventy-nine years of existence, Tiffany’s has lived exclusively in the minds of its consumers.Tiffany & Co.’s intuitive prowess in reaching its target audience is what allows it to dominate the luxury jewellery market (Halasz et al.). This is not only a result of product value, but the alluring nature of the “Tiffany's from New York” brand imagery and experience (Holt et al.), circulated and celebrated in consumer culture through influential depictions in music, film and literature over time (Knight). Tiffany’s faithfully participates in the magnetic identity myth embodied by the brand and city, and has become globally sought after by consumers near and far, and recognised for its romantic connotations of love, luxury, and New York (Holt). An American Dream: New York Affiliation & Diamond OriginsIt was Truman Capote’s characterisation of Holly Golightly in his book (1958) and film adaption, Breakfast at Tiffany’s (1961) that introduced the world to New York as the infatuating “setting,” upon which the Tiffany’s diamond rested. It was a place, that enabled the iconic Holly Golightly to personify the feeling of being abroad in New York and to demonstrate the seductive nature of a Tiffany’s store experience, further shaping the identity myth encompassed by the brand and the city for their global audience (Holt). Essentially, New York was the influential cultural instigator that propelled Tiffany & Co. from a consumer product, to a cultural icon. It did this by circulating its iconography via celebrity affiliations and representations in music, film, and literature (Knight), and by guiding strong brand associations in the minds of consumers (Arvidsson). However, before Tiffany’s became culturally iconic, it established its place in American heritage through historical contributions (Tiffany & Co.) and pledged an association to New York by personifying the American Dream (Mae). To help achieve his dream in a rapidly evolving economy (Elliott), Charles Lewis Tiffany purportedly brought the first substantial gemstones into America from overseas, and established the first American jewellery store to sell them to the public (Halasz et al.). The Tiffany & Co. origin story personifies the alluring nature of products from abroad, and their influence on individuals seeking an image of affluence for themselves. The ties between New York, Tiffany’s, and its consumers were further strengthened through the established, invaluable and emblematic nature of the diamond, historically launched and controlled by South African Diamond Cartel of De Beers (Twitchell). De Beers manipulated the demand for diamonds and instigated it as a status symbol. It then became a commoditised measurement of an individual’s worth and potential to love (Twitchell), a philosophy, also infused in the Tiffany & Co. brand ideology (Holt). Building on this, Tiffany’s further ritualised the justification of the material symbolisation of love through the idealistic connotations surrounding its assorted diamond ring experiences (Lee). This was projected through a strategic product placement and targeted advertising scheme, evident in dominant culture throughout the brand’s existence (Twitchell). Idealistically discussed by Purinton, this is also what exemplified, for consumers, the enticing cultural symbolism of the crystal rock from New York (Halasz et al.). Brand Essence: Experience & Iconography Prior to pop culture portraying the charming Tiffany’s brand imagery in mainstream media (Balmer et al.), Charles Tiffany directed the company’s ascent into luxury jewellery (Phillips et al.), fashioned the enticing Tiffany’s “store experience”, and initiated the experiential process of purchasing a diamond product. This immediately intertwined the imagery of Tiffany’s with New York, instigating the exclusivity of the experience for consumers (Holt). Tiffany’s provided customers with the opportunity to participate in an intricately branded journey, resulting in the diamond embodiment which declared their love most accurately; a token, packaged and presented within an iconic “Tiffany Blue” box (Klara). Aligning with Keller’s branding blueprint (7), this interactive process enabled Tiffany & Co. to build brand loyalty by consistently connecting with each of its consumers, regardless of their location in the world. The iconography of the coveted “blue box” was crafted when Charles Tiffany trademarked the shade Pantone No. 1837 (Osborne), which he coined for the year of Tiffany’s founding (Klara). Along with the brand promise of containing quality luxury jewellery, the box and that particular shade of blue instantly became a symbol of exclusivity, sophistication, and elegance, as it could only be acquired by purchasing jewellery from a Tiffany’s store (Rawlings). The exclusive packaging began to shape Tiffany’s global brand image, becoming a signifier of style and superiority (Phillips et al.), and eventually just as iconic as the jewellery itself. The blue box is still the strongest signifier of the brand today (Osborne). Ultimately, individuals want to participate in the myth of love, perfection and wealth (Arvidsson), encompassed exclusively by every Tiffany’s “blue box”. Furthermore, Tiffany’s has remained artistically significant within the luxury jewellery landscape since introducing its one-of-a-kind Tiffany Setting in 1886. It was the first jewellery store to fully maximise the potential of the natural beauty possessed of diamonds, while connotatively reflecting the natural beauty of every wearer (Phillips et al.). According to Jeffrey Bennett, the current Vice President of Tiffany & Co. New York, by precisely perching the “Tiffany Diamond” upon six intricately crafted silver prongs, the ring shines to its maximum capacity in a lit environment, while being closely secured to the wearer’s finger (Lee). Hence, the “Tiffany Setting” has become a universally sought after icon of extravagance and intricacy (Knight), and, as Bennett further describes, even today, the setting represents uncompromising quality and is a standard image of true love (Lee). Alluring Brand Imagery & Influential Representations in CultureEmpirical consumer research, involving two focus groups of married and unmarried, ethnically diverse Australian women and conducted in 2015, revealed that even today, individuals accredit their desire for Tiffany’s to the inspirational imagery portrayed in music, movies and television. Through participating in the Tiffany's from New York store experience, consumers are able to indulge in their fantasies of what it would feel like to be abroad and the endless potential a city such as New York could hold for them. Tiffany’s successfully disseminated its brand ideology into consumer culture (Purinton) and extended the brand’s significance for consumers beyond the 1960s through constant representation of the expensive business of love, lust and marriage within media culture. This is demonstrated in such films as Gentlemen Prefer Blondes (1953), Breakfast at Tiffany’s (1961), Sleepless in Seattle (1993), Legally Blonde (2001), Sweet Home Alabama (2002), The Great Gatsby (2013), and in the influential television shows, Gossip Girl (2007—2012), and Glee (2009—2015).The most important of these was the film Breakfast at Tiffany’s (1961), and the iconic embodiment of Capote’s (1958) Holly Golightly by actress Audrey Hepburn (Wasson). Hepburn’s (1961) portrayal of the emotionally evocative connotations of experiencing Tiffany’s in New York, as personified by her romantic dialogue throughout the film (Mae), produced the image that nothing bad could ever happen at a Tiffany’s store. Thus began the Tiffany’s from New York cultural phenomenon, which has been consistently reiterated in popular media culture ever since.Breakfast at Tiffany’s also represented a greater struggle faced by women in the 1960s (Dutt); that of gender roles, women’s place in society, and their desire for stability and freedom simultaneously (Sheehan). Due to Hepburn’s accurate characterisation of this struggle, the film enabled Tiffany & Co. to become more than just jewellery and a symbol of support (Torelli). Tiffany’s also allowed filming to take place inside its New York flagship store to which Capote’s narrative so idealistically alludes, further demonstrating its support for the 1960s women’s movement at an opportune moment in history (Torelli). Hence, Tiffany’s from New York became a symbol for the independent materialistic modern woman (Wasson), an ideal, which has become a repeated motif, re-imagined and embodied by popular icons (Knight) such as, Madonna in Material Girl (1985), and the characterisations of Carrie Bradshaw by Sarah Jessica Parker, Charlotte York by Kristin Davis (Sex and the City), and Donna Paulsen by Sarah Rafferty (Suits). The iconic television series Sex and the City, set in New York, boldly represented Tiffany’s as a symbol of friendship when a fellow female protagonist parted with her lavish Tiffany’s engagement ring to help her friend financially (Sex and the City). This was similarly reimagined in the popular television series Suits, also set in New York, where a protagonist is gifted two Tiffany Boxes from her female friend, as a token of congratulations on her engagement. This allowed Tiffany & Co. to add friendship to its symbolic repertoire (Manning), whilst still personifying a symbol of love in the minds of its consumers who were tactically also the target audiences of these television shows (Wharton).The alluring Tiffany’s image was presented specifically to a male audience through the first iconic Bond Girl named Tiffany Case in the novel Diamonds Are Forever (Fleming). The film adaption made its cultural imprint in 1971 with Sean Connery portraying James Bond, and paired the exaggerated brand of “007” with the evocative imagery of Tiffany’s (Spilski et al.). This served as a reminder to existing audiences about the powerful and seductive connotations of the blue box with the white ribbon (Osborne), as depicted by the enticing Tiffany Case in 1956.Furthermore, the Tiffany’s image was similarly established as a lyrical status symbol of wealth and indulgence (Knight). Portrayed most memorably by Marilyn Monroe’s iconic performance of Diamonds Are a Girl’s Best Friend (Gentlemen Prefer Blondes). Even though the song only mentions Tiffany’s lyrically twice (Vito et al.), through the celebrity affiliation, Monroe was introduced as a credible embodiment of Tiffany’s brand essence (Davis). Consequently, she permanently attached her image to that of the alluring Tiffany Diamonds for the target audience, male and female, past and present (Vito et al.). Exactly thirty-two years later, Monroe’s 1953 depiction was reinforced in consumer culture (Wharton) through an uncanny aesthetic and lyrical reimagining of the original performance by Madonna in her music video Material Girl (1985). This further preserved and familiarised the Tiffany’s image of glamour, luxury and beauty by implanting it in the minds of a new generation (Knight). Despite the shift in celebrity affiliation to a current cultural communicator (Arvidsson), the influential image of the Tiffany Diamond remains constant and Tiffany’s has maintained its place as a popular signifier of affluence and elegance in mainstream consumer culture (Jansson). The main difference, however, between Monroe’s and Madonna’s depictions is that Madonna aspired to be associated with the Tiffany’s brand image because of her appreciation for Marilyn Monroe and her brand image, which also intrinsically exuded beauty, money and glamour (Vito et al.). This suggests that even a musical icon like Madonna was influenced by Tiffany & Co.’s hold on consumer culture (Spilski et al.), and was able to inject the same ideals into her own loyal fan base (Fill). It is evident that Tiffany & Co. is thoroughly in tune with its target market and understands the relevant routes into the minds of its consumers. Kotler (113) identifies that the brand has demonstrated the ability to reach its separate audiences simultaneously, with an image that resonates with them on different levels (Manning). For example, Tiffany & Co. created the jewellery that featured in Baz Luhrmann’s 2013 cinematic adaption of F. Scott Fitzgerald’s novel, The Great Gatsby (1925). Through representing a signifier of love and lust induced by monetary possessions (Fitzgerald), Tiffany’s truthfully portrayed its own brand image and persuaded audiences to associate the brand with these ideals (Holt). By illustrating the romantic, alluring and powerful symbolism of giving or obtaining love, armed with a Tiffany’s Diamond (Mae), Tiffany’s validated its timeless, historical and cultural contemporary relevance (Greene).This was also most recently depicted through Tiffany & Co.’s Will You (2015) advertising campaign. The brand demonstrated its support for marriage equality, by featuring a real life same-sex couple to symbolise that love is not conditional and that Tiffany’s has something that signifies every relationship (Dicker). Thus, because of the brand’s rooted place in central media culture and the ability to appeal to the belief system of its target market while evolving with, and understanding its consumers on a level of metonymy (Manning), Tiffany & Co. has transitioned from a consumer product to a culturally relevant and globally sought-after iconic brand (Holt). ConclusionTiffany & Co.’s place-based association and representational reflection in music, film, and literature, assisted in the formation of loyal global communities that thrive on the identity building side effects associated with luxury brand affiliation (Banet-Weiser et al.). Tiffany’s enables its global target market to revel in the shared meanings surrounding the brand, by signifying a symbolic construct that resonates with consumers (Hall). Tiffany’s inspires consumers to eagerly exercise their brand trust and loyalty by independently ritualising the Tiffany’s from New York brand experience for themselves and the ones they love (Fill). Essentially, Tiffany & Co. successfully established its place in society and strengthened its ties to New York, through targeted promotions and iconographic brand dissemination (Nita).Furthermore, by ritualistically positioning the brand (Holt), surrounding and saturating it in existing cultural practices, supporting significant cultural actions and becoming a symbol of wealth, luxury, commitment, love and exclusivity (Phillips et al.), Tiffany’s has steadily built a positive brand association and desire in the minds of consumers near and far (Keller). As a direct result, Tiffany’s earned and kept its place as a culturally progressive brand in New York and around the world, sustaining its influence and ensuring its survival in today’s contemporary consumer society (Holt).Most importantly, however, although New York has become the anchor in every geographically exemplified Tiffany’s store experience in literature, New York has also become the allegorical anchor in the minds of consumers in actuality (Arvidsson). Hence, Tiffany & Co. has catered to the needs of its global target audience by providing it with convenient local stores abroad, where their love can be personified by purchasing a Tiffany Diamond, the ultimate symbol of authentic commitment, and where they can always experience an allusive piece of New York. ReferencesArvidsson, Adam. Brands: Meaning and Value in Media Culture. New York: Routledge, 2006.Balmer, John M.T., Stephen A. 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ABSTRACTMokumé Gane layered metal is a 300-year old decorative metal laminate technique peculiar to the isolated culture of the Japanese Shogunate. Like many complex craft practices handed down through individual experience, the manufacture and development of Mokumé Gane has changed minimally over time. The application of contemporary metallurgical knowledge and solid state bonding techniques such as Hot Press Diffusion Bonding and Hot Roll Bonding provide for further development of Mokumé Gane: bonding success rates are improved, and manufacturing times are reduced. In addition, the range of possible metal combinations is substantially increased; 42 different combinations to date have been successfully bonded, including a new type of Mokumé Gane employing aluminium alloys. This research has allowed a very large increase in the variety of colours, patterns, and visual effects, available to contemporary metalsmiths and jewellers.