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Academic literature on the topic 'Jewelry, Ancient'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Jewelry, Ancient"

GÜNEY, Hilmi, Menekşe SAKARYA, Hamide Tuba KIZILKAYA, and Esra VAROL. "EXAMINATION OF THE NECKLACE AND PENTANDS FOUND IN NİĞDE MUSEUM." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 259–72. http://dx.doi.org/10.46291/zfwt/140214.

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The tradition of using jewelry has always preserved its importance as a means of adornment. The most precious metals and gemstones have been used in the making of jewelry for a long time, and they have been produced by developing special techniques. Gemstone and precious metal processing started in ancient times as well as in every period with the aim of providing faith, fertility, magic, and good luck; In addition to these meanings from time to time, religious rituals also included purposes such as presenting gifts to the gods or the dead, an indicator of social privilege and status, an expression of wealth and of course looking beautiful, according to the beliefs of the period. Our museums, which are active in preserving and preserving the artifacts of Anatolian civilizations today, are also home to jewelery with or without stones from all times, which were removed from our country. With this study, it is planned to determine the metal and stone types of jewelery with or without gemstones brought to the Niğde Museum during archaeological excavations or by confiscation, and to update them in the museum inventory. It is aimed to emphasize the importance of examining other antique period jewelery with or without stones, which are kept and exhibited in museums in our country, in terms of jewelry and gemology. Considering the existence of the remains of ancient civilizations in our country and the state and private history museums that have increased in recent years, the contribution of this study to our cultural tourism will be important. Keywords: Jewellery, Choker, Necklace, Ornament, Nigde Museum

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Henig, Martin, Adriana Calinescu, and Catherine Johns. "Ancient Jewelry and Archaeology." American Journal of Archaeology 101, no. 4 (October 1997): 808. http://dx.doi.org/10.2307/506863.

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Taylor, JV, E. Wright, A. Miller, and R. Stein. "SEM of Ancient Jewelry." Microscopy and Microanalysis 15, S2 (July 2009): 1512–13. http://dx.doi.org/10.1017/s1431927609099000.

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Chorievna, Gulmira Kattaeva. "The Lapis Lazuli Beads In Sapalli Culture And Ancient Near East." American Journal of Social Science and Education Innovations 03, no. 01 (January 31, 2021): 539–51. http://dx.doi.org/10.37547/tajssei/volume03issue01-95.

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Lapis lazuli is one of the most attractive semi-precious stones. Due to its peculiar blue color and its rareness, it has been used since the Neolithic Period for the manufacturing of precious objects and jewels (beads, gems, seals, small decorative artworks, etc.). Scientific analysis of jewelry which was made of the lapis lazuli can help to explore deeper cultural, economic, and political relations between the ancient oases of Central Asia and the Ancient Eastern civilizations. In this article, it is cited scientific pieces of evidence about the earliest and still existing deposits of lapis lazuli sources and the ancient lapis lazuli jewelry. On top of that, it is given scientific information about the types of the lapis lazuli beads which was found from the monuments of Sapalli culture in the part of the Ancient Eastern Civilization such as Sapallitepa, Djarkutan, Mulali, Bustan VI, and also Central Asia.

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SIMPSON, E. "Ancient Gold Jewelry at the Dallas Museum of Art * Ancient Jewelry and Archaeology." Journal of Design History 12, no. 3 (January 1, 1999): 293–97. http://dx.doi.org/10.1093/jdh/12.3.293.

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Rutkowska, Joanna. "Motywy roślinne i zwierzęce w nazwach biżuterii." Język. Religia. Tożsamość. 1, no. 29 (June 5, 2024): 121–30. http://dx.doi.org/10.5604/01.3001.0054.5830.

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Modern jewelry has its origins in ancient times. Among the jewelry motifs used by jewelers and other artists, some of the most popular are elements of fauna and flora, as evidenced by the assortment offered by the companies: Aparat, Kruk and Yes. Due to the very large cross-section and diversity of the analyzed material, it is difficult to make specific calculations regarding individual motifs. Most often, they appear in a series whose name includes the type of jewelry, the material from which the element is made, and the name of the floristic or faunal element, which means that all nominations have at least three components (e.g. silver cat pendant).

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Барбалат, О. В., and О. В. Школьна. "ВІЗАНТІЙСЬКО-КИЄВОРУСЬКІ ЕМАЛЬЄРНІ ТРАДИЦІЇ У ДИЗАЙНІ СУЧАСНИХ ЮВЕЛІРНИХ ВИРОБІВ УКРАЇНИ." Art and Design, no. 2 (September 21, 2020): 14–26. http://dx.doi.org/10.30857/2617-0272.2020.2.1.

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The purpose of this research is to understand the integration of the Byzantium-Kyivan Rus enameling traditions in modern Ukrainian jewelry design. The research is applied historical-cultural and artistic-design scientific approaches in combination with comparative and presentation methods. The results of the research prove the influence of Byzantine and Kyivan Rus enamel traditions on modern Ukrainian jewelry. The stylistic and artistic features of the items were examined on example of outstanding enamel jewelry of Byzantine and Kyivan Rus time. As a result the main principles of design requirements and quality of hot enamel jewelry were defined. This research highlights the principles which elites, as bearers of the highest spiritual values, used as guide lines when choosing and ordering jewelry products in ancient times. In order to understand the manufacturing and producing ancient enamel jewelry pieces the ancient jewelry centers are being studied and characterized in this research. We have analyzed the influence of Byzantium and Kievan Rus enameling traditions on the modern Ukrainian jewelry design. Also we studied how it changed with changing the conditions and intensity of manufacturing. Thanks to this research it has been explained how the Byzantine and Kievan Rus enameling traditions influenced modern Ukrainian jewelry design. The researchers were determined to create a symbiosis of modern scientific and technical methods with the ancient hot enamel techniques. This way the research reveals the newest methods of working with hot enamel that are on their initial phase in modern Ukrainian jewelry industry. The material of this research can be used in development of academic disciplines related to enameling techniques and jewelry design. It can be used as a source of inspiration for creating new conceptual jewelry collections using hot enamel. This research can help influence modern jewelry design in Ukraine. Results of this research can be used not only to popularize the Byzantine-Kievan Rus jewelry traditions in Ukraine but also for quality representation of Ukrainian jewelry art in the world

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Chernetsov, A. V. "Treasures of Staraya Ryazan’: Two Hundred Years of Research and New Discoveries." Herald of the Russian Academy of Sciences 92, S8 (December 2022): S684—S694. http://dx.doi.org/10.1134/s1019331622140039.

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Abstract This article is dedicated to study of the jewelry craft of Staraya Ryazan’. It has been prepared for the 200th anniversary of the discovery of the first hoard there (1822), which marked the beginning of the study of ancient Russian towns, the most important area in the science of Russian antiquities. The marks of the individual style of a craftsman who served representatives of the princely family (interpretation of the images of animals, birds, anthropomorphic figures, and elements of ornamentation, as well as features of the technique) are considered. Jewelry made by him was found in four hoards (1950, 1966, 1970, and 2005). The hoard of 2013, in addition to jewelry, included raw materials and tools of the jeweler (bronze matrices). The number of the matrices indicates that they were intended for several workshops. Some data show that a large grand ducal jewelry workshop was located near the place of the find.

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Jones, W. LaBier. "GEMME NUMMARIE." Sculpture Review 49, no. 2 (June 2000): 20–23. http://dx.doi.org/10.1002/j.2632-3494.2000.tb00132.x.

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The use of coins as personal adornments began at the end of the first century in ancient Rome when the imperial coinage was mounted as jewels. These were worn in rings, pendants, and brooches, conveying class and cultural distinction. In modern times Bulgari, one of the world's most highly regarded jewelry firms, continues this tradition of using ancient Greek and Roman coins in its designs. Bulgari refers to these as gemme nummarie, or coin gems.

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Choi, Jin. "An Inquiry into the Ancient Jewelry of Ancient Egypt Myth." Journal of the Korea Contents Association 9, no. 7 (July 28, 2009): 171–83. http://dx.doi.org/10.5392/jkca.2009.9.7.171.

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Dissertations / Theses on the topic "Jewelry, Ancient"

Pinckernelle, Kathia. "The iconography of Ancient Greek and Roman jewellery." Connect to e-thesis. Edited version, 2008. http://theses.gla.ac.uk/318/.

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Thesis (MPhil(R)) - University of Glasgow, 2008.
MPhil(R) thesis submitted to the Department of History of Art, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

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Limmer, Abigail Susan. "The social functions and ritual significance of jewelry in the Iron Age II southern Levant." Diss., Tucson, Ariz. : University of Arizona, 2007. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_2190_1_m.pdf&type=application/pdf.

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Klop, Damian J. R. "Beneath the raptor’s wings : the avian composition grasping the symbol for eternity in Egypt." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2724.

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Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008.
A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.

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Almirall, Arnal Elena. "Los dones de Rea: Utilización de gemas en la Antigua Grecia." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/667220.

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El objetivo de esta tesis doctoral es analizar el uso de las gemas en el mundo griego, en base principalmente a las fuentes clásicas. Para ello, se ha dividido la investigación en tres bloques claramente diferenciados. El primero consiste en un estudio sobre la utilización práctica o civil de las mismas así como sobre su uso terapéutico o mágico. Para ello, se han investigado, por un lado, tanto los sellos como las joyas u otros objetos domésticos, las lentes y las lupas, los ojos de las estatuas y, finalmente, la fabricación de pigmentos a partir de ciertas piedras; y, por otro lado, se ha examinado la información existente sobre lapidarios, amuletos y talismanes. En el segundo bloque del trabajo se realiza un análisis acerca de la fabricación y el tratamiento de las gemas en el mundo griego que está fundamentado, sobre todo, en la obra de Plinio el Viejo y en los textos del Papiro de Estocolmo. Finalmente, el último apartado de la investigación analiza, una a una, todas las gemas mencionadas en las fuentes clásicas, poniendo de manifiesto los problemas de traducción y los errores de interpretación que aparecen en algunas de las versiones revisadas en diferentes idiomas modernos. Además, se ofrece un cuadro resumen con la información gemológica de cada piedra analizada y se estudian las múltiples citas que las mencionan.
The goal of this doctoral thesis is to analyze the use of gems in the Greek world, based mainly on classical sources. For this, the research has been divided into three clearly distinct sections. The first one involves a study on the practical or civil use of them as well as on their therapeutic or magical use. To do this, on one hand, both stamps and jewelry or other household objects, as well as lenses and magnifying glasses, the eyes of statues and, finally, the manufacture of pigments from certain stones have been investigated; and, on the other hand, the existing information on lapidaries, amulets and talismans has also been analyzed. In the second section of the work, the focus of the study is the manufacture and the treatment of the gems in the Greek world, having as a base, above all, the work of Pliny the Elder and the texts of the Papyrus of Stockholm. Finally, the last section of the research analyzes, one by one, all the gems mentioned in the classical sources, highlighting the problems of translation and mistakes of interpretation that are found in some of the revised versions in different modern languages. In addition, it provides a summary chart with the gemological information of each stone as well as a study of the various quotes that mention them.

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Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.

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The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.

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Bagherpour, Kashani Natascha [Verfasser], Thomas [Gutachter] Stöllner, and Philip G. [Gutachter] Kreyenbroek. "Studies of ancient depositional practices and related jewellery finds, based on the discoveries at Veshnaveh / Natascha Bagherpour Kashani ; Gutachter: Thomas Stöllner, Philip G. Kreyenbroek." Bochum : Ruhr-Universität Bochum, 2015. http://d-nb.info/1142001318/34.

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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems / Felicity Harley." Thesis, 2001. http://hdl.handle.net/2440/21742.

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Bibliography: leaves 289-313.
v, 316 leaves., 17 p. of plates : ill. (some col.) ; 30 cm.
A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.
Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001

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Harris, Stephanie Joan. "Decoding ancient Egyptian diadems: symbolism and iconography as a means of interpreting feminine identity." Diss., 2018. http://hdl.handle.net/10500/24936.

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Text in English
Ancient Egyptian distinctive headdresses made from precious or semi-precious materials date to prehistoric times, indicating a growing sense of individuality and hierarchy. Women’s headdresses were indicators of rulership, divinity, social status, cultic affiliation and wealth. Visual evidence indicates that female identity was emphasised by external and outward appearance and headdresses in the form of diadems followed recognised stylistic dictates throughout the Dynastic Period. The floral and faunal motifs used in the embellishment were believed to have protective amuletic and magical powers. Although a considerable amount of investigation has been undertaken into the use of materials and techniques used in the manufacture of diadems, the incorporation of symbolism and iconography of these gendered artefacts as a means of interpreting visual messages and self-expression has largely been unexplored. The study has been limited to well-provenanced, extant Old, Middle and New Kingdom diadems housed in various museums worldwide.
Old Testament and Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)

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Chen, Yen-ching, and 陳妍青. "A Study on the Materials of Jewel Cases for Imitating the Ancient Styles." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/06866474701021401411.

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碩士
大同大學
工業設計學系(所)
96
The recent cottage style is accomplished not only by using natural materials and warm colors, but also by carving and roughing the furniture surface to express the beauty of hand craftsmanship and usage marks. This trend is becoming popular in specific types of products that deliver wonderful memory to the new life. The objective of this research is to study the essential elements of materials and surface textures that enhance the quality of the products by imitating the ancient. First, through questionnaire survey and interview, the author analyzed users’ opinions about products imitating the ancient and their added value. Second, the author selected the product appropriate for imitating the ancient style, and collected possible textures of usage marks from the literature. Finally, the author derived design principles based on users’ perceptions of experiment samples with different combinations of product styles, materials and usage marks. Based on the analysis of questionnaire survey and interview, products that imitate the ancient style have the added value as follows. (1) Product Differentiation: It is an entire new style. (2) Emotion of the Past: The scenario brings users back to the past with the old memories and emotion. (3) Texture Quality: the product has better quality in the appearance compared to regular industry products. (4) Enhanced user status: demonstrating owners’ tastes and professional experience when using the product. After the analysis of experiments on samples with different combinations of product styles, materials and usage marks, the following design principles for the textures of different materials were derived. (1) Wood: The traditional wooden products with delicate and smooth finishing can enhance the user’s status. (2) Leather: Man-made fading or spotty finishing of the leather on modern products can enhanced the user’s status. (3) Flannelet: The effect of applying flannelet on the traditional shape is different from that of the modern shape. The fading flannelet on the traditional shape can successfully convey the four added values of products imitating the ancient. However, it does not express the same way on the products with the modern shape. (4) Metal: Applying the slightly oxidized metal on the traditional shape can express special texture quality. Applying the electroplated metal on the modern shape not only delivers the image of high quality but also enhances users’ status. However, applying the rusted metal on either shape makes no significant difference. As the result, the rusted metal is not appropriate for the products imitating the ancient. Generally speaking, different ways of imitating the ancient bring out different feelings. There are differences in users’ perception between the traditional shape and the modern shape, even under the same condition of materials and texture. Different usage marks on the same material result in different perceptions for products with traditional and modern shapes.

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Books on the topic "Jewelry, Ancient"

Andrews, Carol. Ancient Egyptian jewelry. New York: H.N. Abrams, 1991.

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Ogden, Jack. Ancient jewellery. Berkeley: University of California Press, 1992.

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1941-, Calinescu Adriana, and Indiana University, Bloomington. Art Museum., eds. Ancient jewelry and archaeology. Bloomington: Indiana University Press, 1996.

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Andrews, Carol. Ancient Egyptian jewellery. London: British Museum Publications, 1990.

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Pavesi, Giuseppina. Arte e materia: Studi su oggetti di ornamento di età romana. Bologna: Cisalpino, 2001.

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Pavesi, Giuseppina. Arte e materia: Studi su oggetti di ornamento di età romana. Milano: Cisalpino, 2001.

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Köroğlu, Gülgün. Anadolu uygarlıklarında takı. İstanbul: Türk Eskiçağ Bilimleri Enstitüsü Yayınları, 2004.

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Dept, Runestone Press Geography. Dazzling!: Jewelry of the ancient world. Minneapolis: Runestone Press, 1995.

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Bollen, Elizabeth. Beauty & betrayal: Ancient and neo-classical jewellery. Sydney: Nicholson Museum, University of Sydney, 2010.

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Williams, Dyfri. Il tesoro di Santa Eufemia: Gioielli lametini al British Museum : Museo archeologico lametino 13 novembre 1998-13 gennaio 1999. Roma: Meridiana libri, 1998.

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Book chapters on the topic "Jewelry, Ancient"

Zimmermann, Thomas. "Ancient Jewelry in Turkey." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1–14. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-3934-5_10188-1.

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Zimmermann, Thomas. "Ancient Jewelry in Turkey." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 310–20. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_10188.

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Ogden, Jack. "The Ancient World." In The Jewelry Design Source Book, 12–31. Boston, MA: Springer US, 1989. http://dx.doi.org/10.1007/978-1-4684-6617-1_2.

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Higgins, R. A. "Ancient Metallurgy." In Greek and Roman Jewellery, 3–7. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482857-2.

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Virgili, V., and M. F. Guerra. "Analysis of Gold Jewellery by PIXE and SEM–EDS: A Comparison of Ancient and Modern Productions." In Proceedings of the 37th International Symposium on Archaeometry, 13th - 16th May 2008, Siena, Italy, 637–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14678-7_93.

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"Jewelry:." In Ancient Carved Ambers in the J. Paul Getty Museum, 4–7. J. Paul Getty Trust, The, 2020. http://dx.doi.org/10.2307/jj.6142262.4.

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Scurlock, JoAnn. "“Not Even Her Own Jewelry”:." In Law and (Dis)Order in the Ancient Near East, 242–69. Penn State University Press, 2021. http://dx.doi.org/10.5325/j.ctv1g80975.24.

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Patton, Laurie L. "Introduction." In Jewels of Authority, 3–10. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195134780.003.0001.

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Abstract The pages of this book glitter with the images of jewelry. Yet its chapters are not concerned only with the colorful worlds of Indian myth, epic, and poetry. They are also the ritual manuals of the ancient Indian sacrifice, the legal texts of the Dharma Sastras, the Tamil commentaries of medieval Vaisnavas, and the Hindi manuals of contemporary organizations of Hindu nationalists. Why does jewelry bring together such disparate topics? If there is any one thing that symbolizes the relationship between women and the brahminical textual tradition of India, it is their jewelry.

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Esparza, Rodrigo. "THE OBSIDIAN JEWELRY OF THE TEUCHITLÁN TRADITION:." In Cultural Dynamics and Production Activities in Ancient Western Mexico, 69–84. Archaeopress Publishing Ltd, 2016. http://dx.doi.org/10.2307/j.ctvxw3nnb.8.

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"Kyme: An Ancient Center of Jewelry Production in Asia Minor." In The Adventure of the Illustrious Scholar, 525–36. BRILL, 2018. http://dx.doi.org/10.1163/9789004361713_028.

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Conference papers on the topic "Jewelry, Ancient"

Orlov, I. I., S. A. Shennikov, O. S. Pavlova, and A. V. Martinova. "Historiography of the problem of jewelry design of the 20-th century." In Global science. Development and novelty. НИЦ "LJournal", 2022. http://dx.doi.org/10.18411/gsdn-03-2022-07.

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Abstract: 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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Орлов, Игорь Иванович, and Сергей Анатольевич Щенников. "A BRIEF HISTORIOGRAPHY OF THE PROBLEM OF JEWELRY DESIGN OF THE 20TH CENTURY." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2021). Crossref, 2021. http://dx.doi.org/10.37539/ecs296.2021.21.58.003.

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Ювелирные украшения является одним из самых востребованных направлений с давних времен. В статье делается краткий обзор историографии проблемы ювелирного дизайна второй половины 20 столетия. Поиск и разработка технологии, которая 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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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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Yuan, Xiaowei. "The Inspiration of Ancient Aesthetics on Modern Jewelry Design Take a Case Study of the Song Dynasty Aesthetics." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.136.

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A., TISHKIN, SHNAIDER S., BARANOVA S., CHERNONOSOV A., ERSHOVA O., SRYVKINA Ju., and KOVAL V. "ON THE POSSIBILITY OF USING ZOOMS-ANALYSIS IN THE STUDY OF ANCIENT LEATHER GOODS (ON THE EXAMPLE OF FINDS FROM THE BUGRY SITE)." In MODERN SOLUTIONS TO CURRENT PROBLEMS OF EURASIAN ARCHEOLOGY. Altai State Univercity, 2023. http://dx.doi.org/10.14258/msapea.2023.3.18.

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This publication discusses perspectives and individual experiences in the study of ancient leather goods or their preserved remains. The largest number of finds from organic materials was found in frozen graves of the Pazyryk culture. Special attention was paid to the found fur coats. Besides them there is a substantial array of jewellery, different things and devices made of leather, which can be studied by ZooMS-analysis (Zooarchaeology by Mass Spectrometry analysis). Fragments from leather clothing were recorded in burial No. 4 at the Bugry site, dated to the Scythian-Sarmatian period and assigned to the Kamen archaeological culture. Determination of the collected samples was carried out. Peptides were isolated to identify the animals whose skins were used for upper shoulder clothing. The obtained AMS-dating results complement the ongoing research programme.

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Allegranti, Ivan. "PROPERTY LAW: CASE STUDIES AND JURISPRUDENTIAL PROBLEMS IN RELATION TO THE WORLD OF JEWELS DURING THE ANCIENT ROMAN ERA." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s01.008.

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Terenzi, Benedetta, Valeria Menchetelli, Giacomo Pagnotta, and Ludovica Avallone. "Connection between AI and product design - Potentials and critical issues in the text-to-image software-assisted design experience." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004511.

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Driven by the demand for innovation, design is constantly evolving and is increasingly focused on integrating new technologies into design processes. Technological innovations have proven to be of fundamental importance, both in speeding up and improving production processes and managing and enriching the ideational process.We are now surrounded by software in which the participation of artiﬁcial intelligence is constant, but although it has become pervasive, we often do not even notice its presence. In the field of product design, several software exploiting artiﬁcial intelligence have been diﬀused to provide us with virtual products at the two-dimensional level. These software are capable of transforming the ideational stages of a project, as they generate original idea proposals in a matter of minutes. One of the most popular software is Midjourney, which is based on the key text-to-image concept, and can create images from prompts, and descriptive keywords provided by the designer. There are also interesting examples in this regard. Think of the work done by Filippo Nassetti, a British architect and designer, who came up with a series of sunglasses and eyeglasses by going through Midjourney, to obtain zoomorphic-inspired products that recall the textures of biological and mineral microstructures. The surreal collection of biomorphically shaped glasses is an example of the exploration of the creative potential of Midjourney software.Another interesting project is the one tackled by the Oio company for the Spawns spoon collection, in collaboration with Giosanpietro Jewelry. According to Simone Rebaudengo, director and co-founder together with Matteo Loglio of the Oio company, the products in the Spawns collection derive from an ongoing dialogue between different skills that has led to the collaboration between man and algorithm, resulting in an expansion of the handmade, merging the ancient world of craftsmanship with that of advanced technology, defining what they call 'craft intelligence.The paper aims to explore the relationships, potentials and limitations of integrating artificial intelligence into the design process through a design experience that tests the innovative potential of text-to-image software in product ideation and reflects on the redefinition of the designer's role in this rapidly and continuous changing scenario.The case study presented therefore experiments with a design process in which the ideation phase is supported by AI, particularly by text-to-image software, which allows textual descriptions to be translated into visual representations, generating highly detailed images and offering new creative possibilities. The work addressed outlines perspectives and critical issues, which deserve further investigation. On the one hand, one potential that is being outlined is the possibility of visualizing even complex ideas by entrusting the imaginative component to the software, having a multiplicity of alternatives and expanding the ideational range with novel solutions from which to make more informed design choices. Text-to-image software also simulates effective virtual prototyping, allowing a concept to be prefigured and visualized in a three-dimensional context before committing to physical production.On the other hand, text-to-image software has some significant limitations, for example in the poor correspondence of generated images with design intentions and the designer's need to acquire technical skills to effectively use text-to-image software, going on to delineate the possibility of a figure such as that of the prompt designer.Therefore, the presented project aims to contribute to the contemporary debate on the integration of AI into design processes with the collaboration of text-to-image software as another avenue for innovation in product design. The scenario sketched out defines an area in which the role of the designer and human creativities proves irreplaceable, leaving one to understand how more and more a process of understanding and collaboration with AI technologies is needed, and how the skills required of future designers are going to vary and expand.Nozaki, N., Konno, E., Sato, M., Sakairi, M., Shibuya, T., Kanazawa, Y., & Georgescu, S., 2017, Application of artificial intelligence technology in product design. Fujitsu Sci. Tech. J, 53(4), 43-51.F. Morace, Design più umano. Quello che l’intelligenza artificiale non potrà mai darci. Egea, 2018S. Quintarelli, Intelligenza artificiale: cos'è davvero, come funziona, che effetti avrà. Bollati Boringhieri, Torino, 2020G. E. Valori, Intelligenza artificiale tra mito e realtà. Motore di sviluppo o pericolo imminente? Rubbettino, 2021L. Keeheon, A Systematic Review on Social Sustainability of Artificial Intelligence in Product Design. Sustainability 2021, 13(5), 2668; https://doi.org/10.3390/su13052668M. Mitchell, L'intelligenza artificiale: una guida per esseri umani pensanti. Einaudi, 2022

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Boido, Cristina. "Il disegno della città ideale: Cosmopolis." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11465.

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The representations of the ideal town: CosmopolisIn 1548, under the Florentine lordship of the Medici, Charles V gave Cosimo I de 'Medici the task of defending the territories of Elba and the commercial traffic of the Tyrrhenian Sea. The Duke, who strongly believed in the potential of the island and wanted to transform it into the center of Florentine rule over the Tyrrhenian, decided to fortify the ancient city of Ferraia, the current Portoferraio. A real jewel of military town planning that took the name of Cosmopolis was born by the architect Giovanni Battista Bellucci and by the engineer Giovanni Camerini. Thanks to its natural conformation, the gulf of Portoferraio protected on one side a strip of land that closes the port like a spiral, and on the other hand protected by two rocky headlands overlooking the sea, was extremely strategic and suitable for defense. Fort Stella and Fort Falcone were built in the upper part of the promontory and the Linguella tower, near the dock, all connected by a bastion wall. Later the defense was further strengthened by walls and ramparts also on the land front side according to the project of the architect Bernardo Buontalenti, transforming the city into an impregnable fortress, as well as a safe naval base. The study of urban representations of the city testifies to how the foundation of Cosmopolis for the Medici duchy was an event of extraordinary value, symbol of the strength of the Duke and his expansive abilities, symbol of an ideal city not only conceived and designed in contemporary treatises, but actually made.

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Fuentes, O., and G. Pincon. "PARIETAL AND MOBILE ART OF ROC-AUX-SORCIERS ROCK SHELTER (MIDDLE MAGDALENIAN, VIENNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.15-16.

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The rock shelter of the Roc-aux-Sorciers at Angles-sur-lAnglin (Vienne, France) is one of the archaeological reference sites for the Upper Paleolithic. The sculpted, painted and engraved frieze was gradually brought to light in its archaeological context by Susanne Cassou de Saint-Mathurin and Dorothy Garrod from 1949 onwards (Saint-Mathurin, Garrod, 1950). A wealth of archaeological material was discovered alongside the parietal art, comprising numerous works of portable art, tools made of animal bone, jewellery, etc. It was very rapidly observed that the portable art and the parietal art shared the same graphic and thematic conventions. For example, images of female bodies are rendered in high relief, in a monumental way, but also in the form of small statuettes. Our research has demonstrated the undeniable intra-site links between the portable art and the parietal art (Pinon, 2012). Here we propose to broaden this analysis within a well-identified culture of the Middle Magdalenian known as the Magdalenian of Lussac-Angles spearpoints. At the time of the discovery of the Magdalenian site of La Marche in 1937 (Vienne) (Lwoff, Pricard, 1940), some similarities had been identified between this site and that of Le Roc-aux-Sorciers, where the discoveries dated back to 1927 (Rousseau, 1933). These similarities are also perceptible in shared techniques (Chehmana, Beyries, 2010), as well as in the production of objects in hard organic materials such as the Lussac-Angles spearpoints (Pinon, 1988), the jewellery in fossil mammoth ivory (Dujardin, Pinon, 2000), the engraved horse incisors (Mazire, 2009) and the figurative art (Bourdier et al., 2016 Fuentes, 2016). We propose to further explore the links between these two sites through the analysis of the dynamic processes of reworking images. In particular we examine the engraved plaquettes of La Marche and the parietal art of Le Roc-aux-Sorciers to bring these links into perspective. This could shed light on some common ways of seeing the world in this Magdalenian group. Bourdier, C., Pinon, G., Bosselin, B. (2016). Norme et individualit au Rocaux-Sorciers (Vienne, France): approches des mains du registre animalier au travers de la forme. In M. Groenen, M.-Ch. Groenen (Eds.), Style, Techniques and Graphic expression in Rock Art (pp. 1735). BAR S2787. Chehmana, L., Beyries, S. (2010). Lindustrie lithique du Roc-aux-Sorciers (collection Rousseau). In J. Buisson-Catil, J. Primault (Eds.), Prhistoire entre Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 16 Vienne et Charente. Hommes et socit du Palolithique (pp. 453460). Association des publications Chauvinoises, mmoire XXXVIII. Dujardin, V., Pinon, G. (2000). Le Magdalnien dans la Vienne et la Charente. In G. Pion (Dir.), Le Palolithique suprieur rcent: nouvelles donnes sur le peuplement et lenvironnement (pp. 213222). Actes de la table ronde de Chambry, 12-13 mars 1999, Mmoire de la Socit prhistorique franaise 28. Fuentes, O. (2016). The social dimension of human depiction in Magdalenian rock art (16,500 cal. BP 12.000 Cal. BP): the case of the Roc-aux-Sorciers rockshelter. Quaternary International, 430, 97113. https://doi.org/10.1016/ j.quaint.2016.06.023 Pericard, L., Lwoff, S. (1940). La Marche. Commune de Lussac-les-Chteaux (Vienne). Premier atelier de Magdalnien III dalles graves mobiles. Bulletin de la Socit Prhistorique franaise, 37(79), 155180. Pinon, G. (1988). Fiche sagaie de Lussac-Angles. In H. Camps Fabrer (Dir.), Fiches typologiques de lindustrie osseuse prhistorique. Commission de nomenclature sur lindustrie de los prhistorique. Cahier I: sagaies (fiche 3bis). Universit de Provence. Pinon, G. (2012). Art mobilier et art parital du Roc-aux-Sorciers (Angles-surlAnglin, Vienne, France): disparits ou sens communs In J. Clottes (Ed.), Lart plistocne dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo (pp. 15491558). Bulletin Socit Prhistorique Arige-Pyrnes. Mazire, G. (2009). Les incisives de chevaux graves. In G. Pinon (Dir.), Le Roc-aux-Sorciers: art et parure du Magdalnien. Runion des Muses Nationaux. http://www.catalogue-roc-aux-sorciers.fr Rousseau, L. (1933). Le Magdalnien dans la Vienne. Dcouverte et fouille dun gisement du Magdalnien, Angles-sur-lAnglin (Vienne). Bulletin de la Socit Prhistorique franaise, 30, 239256. Saint-Mathurin (de), S., Garrod, D. (1950). Une frise sculpte du Magdalnien ancien dcouverte Angles-sur-lAnglin, dans la Vienne. Acadmie des Inscriptions et Belles Lettres, 94(2), 123128.

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