Relevant bibliographies by topics / Jewelry 21st century

Academic literature on the topic 'Jewelry 21st century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Jewelry 21st century"

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Kravchenko, Marta. "Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis." Text and Image: Essential Problems in Art History, no. 1 (2019): 77–89. http://dx.doi.org/10.17721/2519-4801.2019.1.05.

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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.
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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.

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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.
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Perfilyeva, Irina Yu. "The Artistic Jewelry of England (the Second Half of the 20th — Beginning of the 21st Century)." Observatory of Culture 14, no. 4 (January 1, 2017): 416–24. http://dx.doi.org/10.25281/2072-3156-2017-14-4-416-424.

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Bondar, Igor. "The runic inscription of the new zoomorphic amulet of Scandinavian jewelry traditions of the early Middle Ages, originating from the Middle Dniester of Republic of Moldova." Scandinavian Philology 20, no. 1 (2022): 150–68. http://dx.doi.org/10.21638/11701/spbu21.2022.110.

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The present study focuses on the decipherment and interpretation of the unique runic inscription carved on the zoomorphic pendant of Scandinavian jewelry traditions. The new Scandinavian zoomorphic pendant of 10th century, originating from the region of Middle Dniester, Republic of Moldova. The graffito and amulet have no direct analogies. In the research paper the runic inscription is interpreted as the protection magical spell. The runic inscription is based on the ideographic runes of the Elder and the Younger Futhark. The runic inscription of a similar nature with this combination of graphemes has not yet been known in runology, and is first encountered. The inscription made in Scandinavian runes is the first discovery of a runic inscription in Republic of Moldova and the same time is the first written evidence of the presence of the Vikings in the Dniester-Prut Region. The research methodology is based on a comparison of the runic formula of the zoomorphic amulet inscription with the known analogies of the runic formulas inscribed on various artifacts of ancient German material culture. As much as the inscription contains archaic runes of the Elder Futhark and runes of the Younger Futhark, the study used the approach of identifying the semantic load of the runes used as ideograms with the meaning of their own names. In the present research paper, the retrospective method is used in the most famous examples of Scandinavian runes of the Elder and Younger Futhark as ideograms in the described runic inscriptions of the amulet and incantation character. The comparative method is also applied between compare runes as ideograms of the present inscription and the same runes as ideograms in the other cases of use in the similar or analogical context. Comparative and retrospective methods are also applied in the search for analogies of the use of runes in the meaning of own names in mixed inscriptions made by means of a combinations of older and younger runes. The study widely involved a significant amount of scientific work in the field of methodology of reading and interpreting runic inscriptions of famous runologists of 20th and 21st centuries. In scientific work were used ancient German literary sources, such as: Old Norse, Old Icelandic and Anglo-Saxon runic poems, Old Icelandic sagas about the gods and heroes of the Elder Edda and materials from written sources of the 11th–13th centuries were examined in detail and compared in the context of “magic runes” and mythopoeic concepts in mithological considerations. The archaeological context of this research includes both a comprehensive description of the most unique amulet, and the general layer of the most significant finds of the Viking Age and traces of the Scandinavian cultural presence in the Slavic and Old Russian world of the early Middle Ages in the area of the Dniester-Prut interfluve of present-day territory of Moldova.
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Wrześniak, Małgorzata. "Historia jednego motywu – rzecz o związkach biżuterii z architekturą." Załącznik Kulturoznawczy, no. 4 (2017): 221–49. http://dx.doi.org/10.21697/zk.2017.4.10.

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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).
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Wrześniak, Małgorzata. "The Story of One Theme – on the Relationship Between Jewellery and Archi." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 379–404. http://dx.doi.org/10.21697/zk.2019ee.01.20.

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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).
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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.

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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.
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Aukhadiyeva, L. M., and G. S. Abdrassilova. "Medieval ornamentation of the mausoleum of Aisha Bibi is the identity key of the regional architecture of Kazakhstan in the 21ST century." Bulletin of Kazakh Leading Academy of Architecture and Construction 80, no. 2 (June 29, 2021): 39–47. http://dx.doi.org/10.51488/1680-080x/2021.2-20.

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The article is dedicated to the architectural monument of Kazakhstan, the mausoleum of Aisha Bibi, called by the architect Т.K. Basenov «the jewel of memorial architecture of Kazakhstan and treasury of the Kazakh ornamental art». The mausoleums of Aisha Bibi and Babaji Khatun were built in the XI-XII centuries and are located 18 km southwest of Taraz city. The mausoleum is the identity key of the regional architecture of Kazakhstan in the XXI century.
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Глазырин, Кирилл Николаевич. "Jewelry art of Yekaterinburg at the end of the 20th – beginning of the 21st century." Искусство Евразии, no. 2(13) (June 29, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.02.013.

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В статье кратко рассмотрены три основных этапа развития ювелирного искусства Екатеринбурга конца XX начала XXI века. Приведены общие временные истилистические особенности каждого периода. Определены ведущие характеристики для современного периода развития ювелирного искусства Екатеринбурга. The article briefly reviewed the three main stages of development of the Yekaterinburgs jewelry art at the end of the 20th beginning of the 21st centuries. The general temporal and stylistic features of each period are given. The leading characteristics for the modern period of development of jewelry art in Yekaterinburg are determined.
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Yesilmen, Nesrin. "CERAMICS JEWELRY IN 21ST CENTURY AS AN EXAMPLE OF WEARABLE ART." Idil Journal of Art and Language 7, no. 50 (October 25, 2018). http://dx.doi.org/10.7816/idil-07-50-06.

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Dissertations / Theses on the topic "Jewelry 21st century"

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Fernandes, Mirla 1969. "Diálogos em linha." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285256.

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Orientadores: Anna Paula Silva Gouveia, Ana Paula de Campos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:24:27Z (GMT). No. of bitstreams: 1 Fernandes_Mirla_M.pdf: 111615006 bytes, checksum: 4dacb5c961d742397f77bff07ea4a1c6 (MD5) Previous issue date: 2013
Resumo: Esta dissertação teve como objetivo uma investigação sobre a linha enquanto elemento comum do desenho e da joia. Esta última, é aqui entendida como produto da arte-joalheria, campo que se apresenta como resultado de intercâmbios e contaminações com outras linguagens e práticas em arte contemporânea. A pesquisa envolveu três estratégias de investigação realizadas simultaneamente, e que se influenciaram mutuamente: uma pesquisa bibliográfica, o desenvolvimento de um trabalho plástico, e a realização de entrevistas com artistas-joalheiros, que trazem a linha como elemento em seus trabalho, indicando uma possível fonte de novas e diversas relações desenho/joia. A pesquisa bibliográfica levantou conteúdos pertinentes ao desenho e, sobretudo, à arte-joalheria, buscando trabalhos que se caracterizassem por um diálogo entre linguagens artísticas, configurando produções transversais que se afinam a conceitos levantados por Bourriaud, e a inscrevem no campo da arte contemporânea. A investigação plástica levou ao desenvolvimento ao conjunto de trabalhos Ensaios de Imprecisões, exibidos pela primeira vez em Agosto de 2013, na Galeria da Casa do Lago, Campinas. As entrevistas foram uma solução encontrada para suprir a ausência de literatura específica sobre o assunto, e elucidaram os processos criativos e entendimento das poéticas dos artistas entrevistados: Otto Künzli, Doris Betz e Dani Soter. As reflexões e resultados, levantados nas diferentes estratégias, corroboraram para um entendimento da linha, como elemento comum entre o desenho e a joia, que ultrapassa o sentido formal evidente, ampliando-se em jogos simbólicos e estratégias relacionais. A linha tece novas relações de aproximação entre desenho/joia, reiterando a prática da arte-joalheria, como produção de arte contemporânea
Abstract: This dissertation had as objective an investigation on the line as common element of drawing and jewelry. This last one is here understood as a product of art-jewelry, field that presents itself as a result of exchanges and contaminations with other languages and practices in contemporary art. The research involved three strategies undertaken simultaneously, and that influenced each other: a bibliographical research, the development of an artistic work, and interviews with jewelry-artists, who had the line as an element in their work, indicating so a possible source of new and diverse relationships drawing/jewel. The bibliographical research revealed relevant content about drawing and especially art-jewelry, looking for works that were characterized by a dialogue between artistic languages, configuring crossing over productions that are in tune with the concepts raised by Bourriaud, and are inscribed in the field of contemporary art. The artistic practices led to the development of the body of works Ensaios de Imprecisões, shown for the first time in August 2013 at Galeria Casa do Lago, Campinas. Interviews were a solution to overcome the absence of specific literature on the subject, and elucidated the creative processes and understanding of the poetics of the artists interviewed: Otto Künzli, Doris Betz, and Dani Soter. The ideas and results, raised in the different strategies, corroborated to an understanding of the line, the common element between drawing and jewelry, that exceeds the formal evident sense, extending it into symbolic games and relational strategies. The line weaves new relations of proximity between design / jewelry, reiterating the practice of art-jewelry such as contemporary art production
Mestrado
Artes Visuais
Mestra em Artes Visuais
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Parry, Abigail. "Spook and the Jewel Thief & The Polyvalent Plaything : three forms of play in 20th and 21st century poetry." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12303/.

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This thesis identifies and explores three forms of play in poetry: specifically, the ‘interred’ (or etymological) pun, the hypogram, and the manipulation of what Johnson terms discordia concors, or harmonious discord. The precise mechanics of each are scrutinized with close readings of the work of Geoffrey Hill, Paul Muldoon and Jen Hadfield. Extrapolating from these analyses, the behaviour and potential uses of play are examined more broadly in relation to formal play, sonic play, punning, and oppositional texturing. It will be shown that the more ludic a poem, the greater the risk that it will turn in on itself; the anatomy of the poem is therefore compared to its etymological counterpart, the riddle. The thesis concludes that play, in this context, should be viewed as a fundamentally telic activity. The forms of play examined all function as what may be termed a contrivance of coincidence; successful contrivance behaves surprisingly algorithmically, and sensitivity to its mechanics means that play may be put to poetic purpose. A collection of poems – Spook and the Jewel Thief – is submitted in support of this thesis, and demonstrates some of the ways in which play may be deployed.
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"因時而變: 戰後香港珠寶業之發展與轉型(1945-2005)." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074219.

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錢華.
顯微膠片卷端, 作者名誤作"HUA, Qian"
呈交日期: 2006年11月.
論文(哲學博士)--香港中文大學, 2007.
參考文獻(p. 183-189).
Xian wei jiao pian juan duan, zuo zhe ming wu zuo "HUA, Qian"
Cheng jiao ri qi: 2006 nian 11 yue.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (p. 183-189).
Qian Hua.
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Books on the topic "Jewelry 21st century"

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Van, Marthe Le. 21st Century Jewelry: The Best of the 500 Series. New York: Lark Crafts, 2011.

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Elizabeth, Goring, ed. Jewellery moves: Ornament for the 21st century. Edinburgh, Scotland: NMS Pub., 1998.

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Juliet Weir- La de Rochefoucauld. 21st-Century Jewellery Designers: An Inspired Style. Acc Art Books, 2018.

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Jewelry Design in the 21st Century. Gremese, 1999.

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Game, Amanda. Jewellery Moves: Ornament for the 21st Century (Arts & Crafts). National Museums Of Scotland, 2006.

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Filipe, Cristina. Contemporary Jewellery in Portugal: From the Avant-Garde of the 1960s to the Early 21st Century. Arnoldsche Art Publishers, 2019.

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Margit Jschke Precious Anlsslich Der Folgenden Ausstellungen Galerie Slavik Wien 15oktober 16 November 2013 Deutsches Goldschmiedehaus Hanau 13 November 2014 18 Januar 2016. Distanz, 2013.

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Ted Noten - Ubiquist. NAi Uitgevers / Publishers Stichting, 2016.

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21st Century Jewellery Designers: An Inspired Style. Antique Collectors Club Dist, 2013.

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Book chapters on the topic "Jewelry 21st century"

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Paoletti, Paola. "The Manufacture of a Statue of Nanaja: Mesopotamian Jewellery-Making Techniques at the End of the Third Millennium B.C." In From the 21st Century B.C. to the 21st Century A.D., 333–46. Penn State University Press, 2013. http://dx.doi.org/10.1515/9781575068718-020.

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"12. The Future of Burma: Children Are Like Jewels." In Burma at the Turn of the 21st Century, 249–70. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824861728-013.

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Conference papers on the topic "Jewelry 21st century"

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Яковлева, Капитолина Максимовна, and Екатерина Николаевна Дивдевилова. "ARCHAIC JEWELRY OF THE YAKUTS IN THE 21ST CENTURY." In Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019yakovlevakm.

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Щенников, Сергей Анатольевич, and Игорь Иванович Орлов. "THE MAIN TRENDS IN JEWELRY FASHION OVER THE PAST TEN YEARS OF THE 21ST CENTURY." In Высокие технологии и инновации в науке: сборник избранных статей Международной научной конференции (Санкт-Петербург, Сентябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/vt193.2021.30.16.005.

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Ювелирные украшения является одним из самых востребованных направлений с давних времен. Господствующая в данный период мода всегда диктовала свои приоритеты в создание композиционных решений художникам-ювелирам. В данной статье делается краткий обзор историографии проблемы ювелирного дизайна периода с 2010 по 2020 годы. Выделены тренды, которые господствовали в ювелирной моде и как трансформировался процесс создания украшений при помощи новых технологий. Поиск и разработка новых технологий, которые позволят создавать ювелирные изделия с элементами точных копий растительного материала в металле является актуальной в современном дизайне ювелирных изделий. Jewelry is one of the most sought after destinations since ancient times. The article provides a brief overview of the historiography of the jewelry design problem of the second half of the 20th century. The search and development of technology that will allow you to create jewelry with elements of exact copies of plant material in metal is relevant in modern jewelry design.
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