Journal articles on the topic 'Jewelry, Ancient'
To see the other types of publications on this topic, follow the link: Jewelry, Ancient.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Jewelry, Ancient.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Abstract:
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
2
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.
3
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.
4
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.
Abstract:
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.
5
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.
6
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.
Abstract:
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
7
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.
Abstract:
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.
8
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.
9
Belko, Tatyana V., Tatyana V. Kozlova, and Svetlana Yu Osipova. "Role of jewelry and accessories in traditional women`s Russian costume of the 16th–17th centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 294–306. http://dx.doi.org/10.37816/2073-9567-2021-59-294-306.
Abstract:
The paper conducts analysis of decor, accessories and jewelry in the context of traditional Russian costume of the 16th–17th centuries; it consists of an introduction and two parts. In the introduction, the authors note the importance of preserving and structuring information about ancient Russian accessories and costume jewelry for modern creative activity. The paper identifies socio-cultural significance of the ensemble of jewelry and costume in traditional Russian society. It examines the clothing of the South Russian and North Russian women's clothing complex, reflecting the specifics of the regions of Russia-from the Volga region to Siberia. The second part addresses the examples of the use of accessories and jewelry in the structure of traditional folk women's costume, depending on the regions of Russia including the clothes of the Orel, Kursk, Voronezh, Ryazan, Tambov, Tula, and Kaluga provinces belonging to the South Russian complex. The North Russian complexes of women's Russian clothing reflect the specifics of the regions. Headdresses, which are traditionally an integral part of women's folk costume, are represented by kokoshniks, kichki, and crowns. Earrings, rings, and chains are introduced by various schools of master jewelers. The characterization of signs by purpose, materials and method of making jewelry, allowed to clarify the order of classification construction of the scheme of using jewelry in the costume system. The main sections of the paper are illustrated with photos depicting costumes and complementary accessories from various regions of Russia. The authors also display costume ornaments that have long been out of use, but are valuable for research. The paper is of interest to ones studying costume design, accessories, and jewelry. It allowed for concluding about the importance of studying the elements of the costume as artifacts made of natural materials that serve as a precious source of information about the unique Russian decorative and applied art and costume.
10
Бравина, Розалия Иннокентьевна, and Зинаида Ивановна Иванова-Унарова. "The Glow of Silver: The Traditional Ornaments of the Yakuts. From the Origins to the Present." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 51–62. http://dx.doi.org/10.26158/tk.2020.21.2.005.
Abstract:
Ювелирное искусство народа саха исследуется в статье в междисциплинарном аспекте: изучаются истоки его возникновения, этнокультурные связи народов Евразии по материалам археологических памятников Позднего Средневековья, искусствоведческая характеристика украшений (традиции и новаторские черты в современном искусстве якутских ювелиров). В основу работы положен анализ находок из археологических раскопок якутских погребений XIV-XVIII вв., предметов из фондов музеев Республики Саха (Якутия) и Американского музея естественной истории в Нью-Йорке, а также авторских ювелирных изделий современных мастеров. Подробное изучение ансамбля якутских украшений и отдельных его частей содержится в трудах этнографов Ф. М. Зыкова, В. П. Дьяконовой и др. Классификация украшений, описание техники и способов обработки металла, к которым обращались эти авторы, не входят в задачи данной статьи. Металлические украшения древних якутов, найденные в археологических памятниках, рассматриваются нами в сравнительно-историческом аспекте и соотносятся с изделиями древних кочевников Центральной и Передней Азии, Китая и Южной Сибири. Якутское ювелирное искусство приобрело устойчивые формы, орнаментальный декор и национальное своеобразие в XVII-XIX вв. На современном этапе сохраняется многовековая традиция изготовления ансамбля украшений, но параллельно развивается творчество дизайнеров-ювелиров по созданию оригинальных художественных произведений, вырабатывающих неповторимый стиль этномодерна. The article examines the jewelry of the Sakha people from an interdisciplinary perspective. It examines its origins and sources; considers the ethno-cultural relations of the peoples of Eurasia, based on the materials of archaeological monuments from the late Middle Ages; and considers art history (traditions and innovative features in the modern art of Yakut jewelers). The work is based on archaeological excavations of Yakut burials of the 16th through 18th centuries, items from the collections of the museums of the Republic of Sakha (Yakutia), and the American Museum of Natural History in New York, as well as the author’s jewelry created by modern masters. A detailed study of Yakut jewelry and its individual parts is contained in the works of the ethnographers F. M. Zykov, V. P. Diakonova, and others, and the classification of jewelry and descriptions of the techniques and methods of metal processing that these scholars provided are not considered in this article. On the other hand, metal ornaments of ancient Yakuts found in archaeological sites are analyzed in a comparative historical context and correlated with the products of ancient nomads from Central and Western Asia, China and Southern Siberia. Yakut jewelry art acquired stable forms, ornamental design and national distinctiveness in the 17th - 19th centuries. The traditional Yakut way of making an ensemble of jewelry has been preserved, but at the same time, jewelry designers have also been creating original works of art that develop a unique “ethnomodern” style.
11
Tolkachov, Yu I., and O. Yu Zhurukhina. "GLASSWARE FROM THE EXCAVATIONS ON THE TERRITORY OF THE MEDZHYBOZH FORTRESS IN 2015." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 226–29. http://dx.doi.org/10.37445/adiu.2018.04.10.
Abstract:
Excavations conducted on the territory of the Medzhybozh Fortress in 2015, explored the cultural layer, in which among various archaeological material were found objects of glass. Finds are divided into three categories: vessels, jewelry, and decor elements. Most of them are jewelry: the bracelets and beads. The vessels, beads, and bracelets, according to their morphology and technology, have Ancient Rus’ origin. Some of the bracelets were produced in Byzantium. The fragments of the window glass belong, probably, to the later period.
12
Kruglova, Maria G. "The evolution of the jewelry status in the history of culture and its role in intercultural interactions." Neophilology, no. 2 (2022): 401–8. http://dx.doi.org/10.20310/2587-6953-2022-8-2-401-408.
Abstract:
It is interesting to consider the evolution of jewelry status in the history of culture and its role in intercultural interactions in the correlation of periods of conceptual social transformations. The purpose of the study is to examine the main cultural approaches to the development process, to identify current trends in the study of cultural diffusions in the context of jewelry art. The motives and functions of jewelry are analyzed, the systematization carried out allows us to determine the place of jewelry in intercultural interactions on the example of ancient Asian cultures (Tibet, Mongolia, small peoples of China), which have significant both material and spiritual heritage and show signs of cultural diffusion, permeability. This civilizational community is imbued with a large amount of influences that have their own patterns: directions and rhythms. The traditional jewelry art of this region demonstrates a variety of technologies and materials with their stylistic continuity, common cultural roots. The study considers a question of the origin of jewelry, which most likely arose simultaneously with the appearance of clothing, costume complex, is an integral part of human civilization, and undoubtedly had a huge impact on its evolution. Conclusion: the identification of markers of cultural diffusion through a comprehensive comparative-typological analysis of genres, materials, and artistic style in the traditional jewelry art of Central Asia, including the small peoples of southern China, Mongolia and Tibet in the modern author’s jewelry art of the Stroganov school through the prism of innovations of the shaping of the Russian avant-garde of 1910–1920 just define the main culturological approaches.
13
Abdulkhakimovich Mamarajabov, Gayrat. "Traditional Clothes and Jewelry of Surkhandarya Oasis." International Journal of Multicultural and Multireligious Understanding 8, no. 12 (December 4, 2021): 227. http://dx.doi.org/10.18415/ijmmu.v8i12.3273.
Abstract:
In the oasis of Surkhandarya, local craftsmen sew traditional shoes, make such shoes as takaki, charik, hakkari, mokkas, tashtovan. In the Surkhan oasis, women wore jewelry such as beads, earrings, rings and bracelets, which were worn and sewn on the forehead, hair, ears, neck, arms, legs and chest. In the Surkhandarya oasis, which combines ancient and national costumes of Uzbeks, women's clothes are rich in historical and factual materials. Women's clothing is divided into winter, spring, summer, autumn clothes depending on the seasons; casual, holiday and ceremonial clothing according to the condition in which it is worn; divided into underwear, top, head, shoes, depending on which part of the body is worn.
14
Kawer, Sonya M. "PERHIASAN PADA SUKU KOMBAI, BOVEN DIGOEL (Jewelery of Kombai Tribe, Boven Digoel)." Jurnal Penelitian Arkeologi Papua dan Papua Barat 6, no. 2 (June 3, 2017): 169–77. http://dx.doi.org/10.24832/papua.v6i2.30.
Abstract:
Tribal jewelry Kombai also know their traditions and culture. This tradition has been introduced by their ancestors in ancient times. This paper to learn about the form and function of accessories or jewelry Kombai Tribe. The method of data collection is done with literature, field surveys, and analysis using Ethnoarchaeology approach. In the form of jewelry is jewelry Kombai tribal head or crown of the head, nose ornaments, decorations arm, necklaces, body decoration, penis sheath for men, skirts for women tassel, and ornate legs. All these accessories are made or derived from the nature around them stay. AbstrakSuku Kombai juga mengenal perhiasan dalam tradisi dan kebudayaan mereka. Tradisi ini sudah diperkenalkan oleh nenek moyang mereka pada zaman dahulu. Tulisan ini untuk mengetahui mengenai bentuk asesoris atau dan fungsi perhiasan Suku Kombai. Metode pengumpulan data dilakukan dengan studi pustaka, survei lapangan, dan analisis menggunakan pendekatan etnoarkeologi. Bentuk perhiasan pada suku Kombai yaitu perhiasan kepala atau mahkota kepala, hiasan hidung, hiasan lengan tangan, kalung, hiasan badan, koteka untuk laki-laki, rok rumbai-rumbai untuk perempuan, dan hiasan kaki. Semua asesoris ini terbuat atau berasal dari alam sekitar mereka tinggal.
15
Fayzulla, Ochildiev. "The Craftsmanship Of The Emirate Of Bukhara At The Second Half Of The XIX Century - The Beginning Of The XX Century." American Journal of Interdisciplinary Innovations and Research 02, no. 11 (November 14, 2020): 33–38. http://dx.doi.org/10.37547/tajiir/volume02issue11-07.
Abstract:
This article describes the development of handicrafts in the second half of the XIX century and the beginning of the XX century in the Emirate of Bukhara. In the Emirate of Bukhara from ancient times developed weaving, embroidery, tanning, carpet weaving, pottery, blacksmithing, coppersmithing, carving, jewelry, painting and other crafts.
16
Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
Abstract:
The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
17
Prokopovich, L. V. "Sacred scarab in jewelry of ancient Egypt: the symbol interpretation problem." Odes’kyi Politechnichnyi Universytet. Pratsi, no. 1 (March 31, 2015): 202–9. http://dx.doi.org/10.15276/opu.1.45.2015.33.
18
RUVALCABA-SIL, J. L., G. DEMORTIER, and A. OLIVER. "EXTERNAL BEAM PIXE ANALYSIS OF GOLD PRE-HISPANIC MEXICAN JEWELRY." International Journal of PIXE 05, no. 04 (January 1995): 273–88. http://dx.doi.org/10.1142/s0129083595000319.
Abstract:
Pre-Hispanie funerary gold jewelry artefacts (900–1325 A.D.) from Mexico (Oaxaca) were studied by PIXE. A 2,7 MeV proton beam was used in an external beam set-up to determine the elemental composition in various regions of each item. Some of the flattest regions were analyzed at normal and grazing beam incidence to determine whether elemental compositions are different in the bulk by comparison with the surface. The results provide relevant information about the metallurgical techniques, like alloy casting, gilding and soldering processes used by ancient mesoamerican goldsmiths.
19
Valério, Pedro, Rui J. C. Silva, António M. M. Soares, M. Fátima Araújo, Lídia Baptista, and Ever Calvo. "Microanalytical Study of Ancient Gold Jewelry: Mediterranean Impact on the Early Iron Age Technology in Southwestern Iberia." Microscopy and Microanalysis 25, no. 4 (June 18, 2019): 1061–73. http://dx.doi.org/10.1017/s1431927619014582.
Abstract:
AbstractThe gold technology in Iberia underwent an important development during the Early Iron Age (EIA) following the arrival of new technological skills from the Mediterranean region, including the use of filigree, granulation, and brazing. This work presents the microanalytical study of EIA gold jewels (22 spherical beads and four tongue pendants) recovered from three graves in southern Portugal. The set of jewelry, showing an extraordinary stylistic resemblance, was characterized by optical microscopy, micro energy-dispersive X-ray spectrometry and scanning electron microscopy with X-ray microanalysis to establish the alloy composition and production techniques. The pieces show a close technological relation, making use of artificial gold alloys with different amounts of silver (c. 40 and 25%). The decorative styles include different types of filigree (solid wires and hollow wires), while the joining techniques comprise brazing with Au-Ag-Cu solders and, probably, sintering. In spite of those technological and stylistic features, clearly pointing to a Mediterranean influence, the absence of granulation suggests an indigenous workshop where exogenous technologies/decorations were not yet fully integrated in the manufacture of such luxury items.
20
Ильгар гызы Алиева, Гюлана. "Ancient city type settlements of Lowland Karabakh." SCIENTIFIC WORK 71, no. 10 (October 23, 2021): 36–39. http://dx.doi.org/10.36719/2663-4619/71/35-39.
Abstract:
The archaeological research indicated a large number and significant density of settlements of different times on the territory of Azerbaijan, which is mainly due to the fact that there were all the necessary conditions for the emergence of settlements. The decisive condition for their emergence has always been the presence of certain material prerequisites for life, as well as the possibility of defending a given area. The analysis of archaeological materials draws a picture of life in the cities of Albania in the period of antiquity. These cities were administrative and trade and craft centers with developed money circulation. In the cities of Albania, such types of handicrafts as pottery, metallurgy and metalworking, jewelry, glass making, as well as weaving and leatherworking were developed. In their development, a significant role played the trade routes of that time passing through the territory of Albania, one of which was the waterway along the Kura River. Keywords: Albania, Karabakh, cities, base of column, defensive walls
21
Bower, Bruce. "Humans: Early iron beads came from space: Ancient Egyptians worked meteorites into jewelry." Science News 184, no. 7 (September 24, 2013): 11. http://dx.doi.org/10.1002/scin.5591840709.
22
Di Martino, Daniela, Enrico Perelli Cippo, Antonella Scherillo, Zsolt Kasztovszky, Ildikó Harsányi, Imre Kovács, Zoltán Szőkefalvi-Nagy, Roberta Cattaneo, and Giuseppe Gorini. "An Archaeometallurgical Investigation on Metal Samples from the Chiaravalle Cross." Heritage 2, no. 1 (March 9, 2019): 836–47. http://dx.doi.org/10.3390/heritage2010055.
Abstract:
The production and manufacturing techniques of metals involve expertise, and the study of ancient artifacts relies on interdisciplinary skills. Metalworking processes used in the production of jewelry masterpieces can, for example, give indications on the provenance of an ancient object of an unknown origin and the techniques used. In this regard, metallic samples from the Chiaravalle Cross (a beautiful processional cross with a complex structure, dating to the 13th century) have been studied, combining bulk and point measurements. Neutron-based experiments (like Prompt Gamma Activation Analysis and neutron diffraction) provide the bulk of the elemental and mineralogical composition, while particle induced X-ray emission analyses evidenced important details on its manufacturing techniques.
23
Chiriu, Daniele, Francesca Assunta Pisu, Pier Carlo Ricci, and Carlo Maria Carbonaro. "Application of Raman Spectroscopy to Ancient Materials: Models and Results from Archaeometric Analyses." Materials 13, no. 11 (May 28, 2020): 2456. http://dx.doi.org/10.3390/ma13112456.
Abstract:
Numerous experimental techniques of analysis find applications in many branches of the archaeometry. Among them, Raman spectroscopy carved out a niche in the field of diagnostic and conservation of cultural heritage. The exceptional ability to predict and discover the structural properties of materials set for Raman spectroscopy, an exclusive role among the analytic techniques, is further boosted when it is coupled with mathematical or statistical models able to deepen the studied phenomena. In this work, we present a review of recent studies where pairing Raman spectroscopy and mathematical models allowed achieving important results in the case of potteries, porcelains, ancient and modern paper, ancient jewelry, and pigment degradation. The potentialities of this approach are evidenced and analyzed in detail.
24
Scrivano, S., B. Gómez-Tubío, I. Ortega-Feliu, F. J. Ager, A. I. Moreno-Suárez, M. A. Respaldiza, M. L. de la Bandera, and A. Marmolejo. "Identification of soldering and welding processes in ancient gold jewelry by micro-XRF spectroscopy." X-Ray Spectrometry 42, no. 4 (April 24, 2013): 251–55. http://dx.doi.org/10.1002/xrs.2482.
25
Silaiev, Oleksandr. "Decorative application with lion’s image from the excavations near village Mizhgirya (Volyn region)." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 24 (December 23, 2020): 387–95. http://dx.doi.org/10.33402/mdapv.2020-24-387-395.
Abstract:
The article is explaining a unique bronze application, which was discovered during the excavation season 2017 on Mizhgirya-3 site – two-layered settlement of Early Iron Age and Age of Principalities. This item was uncovered amid the upper earth sediments, largely destroyed by plowing, thus making it impossible to determine the exact chronological interpretation. Based on the analysis of creative stylistics and technological features of this piece of craftsmanship, an excessive pursuit was commenced for the parallels in the imageries and designs of decorative ornaments, particularly inherent to Ancient Rus culture. It includes various examples of zoomorphic motifs, lion’s pictures as well, in the church architectural décor and on similar samples of ornamented jewelry. The closest stylistic equivalence to the application’s image from Mizhgirya-3 site was found among decorative ceramic tiles collected during the excavations of ancient Halych hill-fort, some of them holding the image of a lion or a lioness. Particular attention was turned towards the searches of analogies among jewelry, applying specific techniques of openwork metal casting, like some items from the excavations of the Ancient Rus’ major cities of Halych and Novgorod, found inside cultural sediments from the 12th – to the 15th centuries. Comparative analysis of various objects, either depicting similar visual motifs or applying the distinctive metal casting technique, made it possible to verify the application’s origin at the later stages Age of Principalities cultural evolution, especially the one determined by the advance of Galicia and Volhynia state. Henceforth, the discovery of the items became more relevant with the upper chronological layer of Mizhgirya-3 site, which was dated by the 12th – 13th centuries after the evaluation of supplemented materials. Key words: bronze decorative application, openwork metal casting, Age of Principalities, zoomorphic motif, «lion passant».
26
Colomban, Philippe. "Polymerization degree and Raman identification of ancient glasses used for jewelry, ceramic enamels and mosaics." Journal of Non-Crystalline Solids 323, no. 1-3 (August 2003): 180–87. http://dx.doi.org/10.1016/s0022-3093(03)00303-x.
27
Kormysheva, E. E. "Features of the Hellenistic culture of ancient Sudan." Orientalistica 5, no. 2 (June 29, 2022): 224–42. http://dx.doi.org/10.31696/2618-7043-2022-5-2-224-242.
Abstract:
The article examines the main features and specificity of the formation of the Hellenistic culture in ancient Sudan. To assess the nature of the Hellenistic influence on the culture of Meroe, the author analyzes the characteristic features of the region's architecture, reliefs of temple complexes, painting and decoration of walls, items of minor art, jewelry, which had been obtained during archaeological excavations. The author explores the ways of penetration of Greek culture directly and through Egypt, as a result of which the Hellenistic culture of Meroe becomes the result of the syncretisation of Hellenistic Egypt and local forms. The borrowing had a specific nature, most of the Hellenistic elements were re-interpreted, transplanted into the Meroe and adapted to the local culture. The processes of transformation of images created through the syncretization of Egyptian Hellenistic images with local culture gave rise to a special form of Sudanese Hellenism, in which the Meroitic reading is traced in the concept, form and style. Such processes of combining local features with images that came from Egypt were typical for the entire history of contacts between these two Nile civilizations, the nature of the interaction as a whole was subjected to uniform laws, giving rise to a unique form of Hellenism in Meroe.
28
Anokhina, Evgeniia. "Two Clay Female Figurines in the Pushkin State Museum of Fine Arts, Moscow." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 245. http://dx.doi.org/10.31857/s086919080017602-9.
Abstract:
The paper continues a series of publications of female nude figurines from the Ancient Egyptian collection of the Pushkin State Museum of Fine Arts. It deals with two unusual handmade clay figurines of the late Middle Kingdom and the early New Kingdom (I, 1a 5889, I, 1a 7076) which are examined in the context of other figurines of this type. Their iconography is characterized by a disproportionate head with discoid headdress, broad shoulders, small breasts, arms stretched along body, slim waist, broad hips, marked enlarged pubic triangle, navel, dimples above the buttocks, prominent rounded buttocks, long legs, poorly developed hand and feet. The face has generalized features: large carelessly drawn eyes without pupils, a protruding beak-shaped nose, pierced ears. Special attention is paid to hairstyles and jewelry. The headdress consists of a a convex disk pierced with three to six holes which likely held linen threads imitating hair with clay, mud, faience beads, shells. As for the jewelry, the figurines usually depicted: a ribbon/fillet on the forehead surrounding a convex disk, incised girdles, incised bracelets on the hands, incised body chains, one-, two-and less often three-partite modelled necklaces with or without patterns, incised necklaces of one or more rows of dots, rarely earrings in the ears. The article considers the issues of the figurines origin and the influence of Nubian and Middle Eastern cultures on their emergence. The authors conclude that despite the possible impact of other cultures the clay figurines in question were centrally produced in the Nile Valley and were close in their iconography and meaning to other female images of Ancient Egypt.
29
BABYCH, Antonina, Tymofii LYPSKY, and Anna RADIKOVA. "MODERN METHODS AND ANCIENT TECHNOLOGIES OF RESTORATION AND RESTORATION OF SHOES." Herald of Khmelnytskyi National University. Technical sciences 311, no. 4 (August 2022): 204–8. http://dx.doi.org/10.31891/2307-5732-2022-311-4-204-208.
Abstract:
Restoration and restoration of shoes – a delicate, complex, often jewelry. It requires professionalism, experience, creative and creative approach and innate artistic taste of the master. In addition, restoration work often requires special equipment and materials for a number of rare and complex operations to completely restore the product and give it its original appearance or, conversely, “aging” of new shoes at the request of the customer. Shoe restoration allows a specialist to create using standard and non-standard materials, classic and advanced methods and techniques for replacing worn parts in the product, and also allows you to experiment with finishing compositions to give the product the appearance of “wear” and “abrasion”, creating a “faded” “Color of the material and its” aged “structure, the effect of attrition or patina, metallic luster or vice versa giving the product a look of” rejuvenation “by updating the color, giving it strength, shine, overall finish and strengthening the structure of the material as a whole. Thanks to such methods of restoration it is possible to achieve not just the desired, but also almost unique result of work. The features of the stages of shoe restoration are investigated in the article. Technological stages of restoration of footwear and step-by-step technology of finishing of finished products have been developed. A full cycle of restoration works was carried out on samples of men’s shoes worn. Tested according to the requirements of the standards and experimentally proven high wear resistance of the surface of the materials of the restored shoes, namely: the ability of the material to repeated bending, stretching, wet and dry friction. Experimental wearing of restored shoe samples was carried out. The high operational characteristics of the studied products have been confirmed. The expediency of these works has been proved experimentally.
30
Grimaldi, David, and Rob Desalle. "The Scientific Romance with Amber." Paleontological Society Special Publications 7 (1994): 295–308. http://dx.doi.org/10.1017/s2475262200009606.
Abstract:
For at least 10 millenia, a special mystique has surrounded amber. This is probably due to the warmth of its color and touch, its lightness, and the small organisms that are sometimes found in it. Some of the oldest Mesolithic artifacts are amber carvings from Europe, and a rich folklore about origins of amber existed among the ancient Greeks, Assyrians, and Romans. The true origins of amber, as a fossilized resin that bled from trees, was first recognized by the Roman natural historian, Pliny the Elder. By the Renaissance Period, amber was used for elaborate figurines, carved bowls, jewelry, pipes, even caskets. The color of amber, especially in Mediterranean cultures, represented luxury.
31
Pavlova, Anzhelika N. "A costume in the funeral rituals of the Mari people." Finno-Ugric World 12, no. 4 (December 25, 2020): 423–29. http://dx.doi.org/10.15507/2076-2577.012.2020.04.423-429.
Abstract:
Introduction. Burial rites, which are a traditional object of research in archeology and ethnography, are one of most stable elements of ethnic culture. The costume and its individual elements took an important place in the funeral and memorial rites. The study of these rituals can reveal new aspects of the spiritual culture of the Mari people. Materials and Methods. The work is based on the comparison of archaeological and ethnographic materials, culturogical approach, methods of semantic, cultural and anthropological research. Results and Discussion. The reference of funeral and memorial rites to the passage rites determined the use of the elements of a wedding dress, including fur clothes and jewelry. The belt that served as a storage was an important part of the burial costume, as well as the sacrificial and ritual complexes of the ancient Mari tribes. Conclusion. Application of a culturological approach to the research of the funeral rituals of the Mari people allowed to conclude that the costume substituted the deceased, served as the embodiment of a generic body that went back to the totem. The funeral costume, like the wedding one, assumed the use of ancient symbolic codes. The belt that completed the symbolic human body was an important burial costume. The belt served as a defense in the ancient Mari sacrificial ritual complexes, enhancing their association with the world tree.
32
Arieni, Fildzah Nadya, Dhea Halimah, and Ira Audita. "Implementasi Metode Fuzzy Sugeno Pada Penentuan Harga Emas 24 Karat pada Kota Medan." Brahmana : Jurnal Penerapan Kecerdasan Buatan 1, no. 2 (June 30, 2020): 116–20. http://dx.doi.org/10.30645/brahmana.v1i2.27.
Abstract:
Gold is one of the most precious precious metals by the public because gold prices tend to be stable and increase every month, gold investment has also developed quite rapidly. Gold can be invested in various forms such as gold bars and gold in the form of jewelry that has value to add to the wearer's appearance besides that there is also gold in the form of ancient currency coins that have historical value and are usually kept by collectors, gold is one form of investment that is not influenced by trends in society because gold is bought by everyone at any time. The purpose of this study was to determine the determination of the price of 24 carat gold in medan city. In this study, the authors used 3 criteria including demand, quality and price.
33
Prokopenko, Yury. "Status Items from the Crypt “Kamennaya Mogila” (Stone Grave) of the 3rd – 2nd Centuries BC (Southern Outskirts of Zheleznovodsk)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 3 (June 2022): 56–73. http://dx.doi.org/10.15688/jvolsu4.2022.3.4.
Abstract:
Introduction. The article is devoted to the analysis of objects discovered during the excavation of the “Kamennaya mogila” (Stone Grave) kurgan on Medovaya mountain (southern outskirts of Zheleznovodsk). Methods and materials. The comparative typological method was used as a worker. It is based on classification by material, processing method, shape, ornamentation, as well as on the study of types of gold jewelry, glass and black-glazed dishes, bronze horse plate foreheads and cheek pads, etc. Analysis. The typological and chronological analysis was carried out on gold jewelry (plaques, rings, pendants), antique ceramic and glassware, items of horse dress and weapons. Analogies to imported items from the crypt, found in the monuments of ancient culture and in the burials of the barbarian nobility, allow them to be dated to the 4th – 2nd centuries BC. Items of equestrian dress and weapons date back to the 3rd – 2nd centuries BC. Results. The author, regarding the social structure of the local population, ranked the monument as stratum No. 2 (nobility of the first level). A complex burial structure of the tomb with a significant number of ritual offerings is recorded. Burial items have numerous analogies in the status burials of the Bosporan, Meotian and Scythian nobility of the Northern Black Sea region and the North Caucasus of the 4 th – 2nd centuries BC. The sophisticated frame structure of the horse harness made of iron parts from the crypt of the Stone Grave is unique. Only a member of the nobility with a very high status could afford such a special bridle as a ritual offering.
34
S., KIREEV. "V.D. KUBAREV IN THE ARCHAEOLOGICAL COLLECTION OF ANOKHIN NATIONAL MUSEUM OF THE ALTAI REPUBLIC." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 371–77. http://dx.doi.org/10.14258/2411-1503.2021.27.56.
Abstract:
In 2021, we celebrate the 75th anniversary of the birth of Doctor of Historical Sciences, employee of the Institute of Archaeology and Ethnography, V.D. Kubarev. The article notes a great contribution of the scientist to the study of the archaeological cultures of Altai and Mongolia, the discovery of more than a thousand new sites of antiquity. Anokhin National Museum of the Altai Republic has a large collection of materials consisting of 747 units of almost all historical periods, transferred to scientists in different years. Among them are several deer stones and ancient Turkic statues, materials from the Bike-I, Ulandryk-I, Jolin-III, Talduair-I, III, Kuyakhtanar, Burata burial grounds. The collections feature weapons and household items, jewelry and clothing items, horse equipment. Many exhibits from the collection of V.D. Kubarevs occupy a worthy place in the exhibition halls of the museum of the Scythian-Saka, Xiongnu--Sarmatian and ancient Turkic times of Altai, were demonstrated at thematic exhibitions. The library of the museum constantly received all the scientific publications of the scientist as a gift. A number of museum employees constantly participated in the scientist’s expeditions and became professional archaeologists. Keywords: Gorny Altai, archaeology, V.D. Kubarev, Anokhin National Museum of the Altai Republic, museum collections
35
Moyes, Holley. "Xibalba, the Place of Fear: Caves and the Ancient Maya Underworld." ARYS: Antigüedad, Religiones y Sociedades, no. 14 (May 16, 2018): 171. http://dx.doi.org/10.20318/arys.2017.3990.
Abstract:
Resumen: Las cuevas eran un elemento destacado de la cosmología maya que encarnaban el inframundo de Xibalba. Como describe el mito, su propio nombre significa “lugar del miedo o el terror”. Aun así, los antiguos mayas se adentraban en la obscuridad de las cavernas para celebrar rituales destinados a divinidades asociadas con la lluvia, la fertilidad, y los ominosos Señores del Inframundo. Aunque se ha escrito poco sobre las prácticas rituales del período maya clásico, los artefactos encontrados en las cuevas documentan que los antiguos mayas dejaron ofrendas de cerámicas, objetos domésticos, incienso, joyería, y en ocasiones también víctimas sacrificiales, para los poderosos seres que habitaban los espacios subterráneos. De hecho, estas cuevas poseen todavía una consideración sagrada entre las actuales comunidades mayas, lo que atestigua la resiliencia de la religión y la cosmología mayas, así como el poder del mito.Abstract: Caves were a salient feature of Maya cosmology that instantiated the underworld of Xibalba. Described in myth, its very name meant the place of fear or fright. Yet, ancient people journeyed deep into the darkness to conduct rituals for deities associated with rain, fertility, and the ominous Lords of the Underworld. Although little was written about ritual practices in the Classic period, the artifact record attests that ancient people left offerings of ceramics, household items, incense, jewelry and sometimes sacrificial victims for the powerful beings that inhabited caves. These sites are still considered sacred in Maya communities today, a testament to the resilience of Maya religion and cosmology and the power of myth.Palabras clave: Xibalba, religión maya, topografía del miedo, cueva, inframundo, ritual, cosmología maya, mito, ofrendas.Key words: Xibalba, Maya Religion, Fearscape, Cave, Underworld, Ritual, Maya Cosmology, Myth, offerings.
36
Sayfullaeva, Ra'no, Hulkar Hamroeva, and Tomaris Azam Butunbaeva. "Language of Uzbek national dance art movements." Linguistics and Culture Review 5, S4 (December 15, 2021): 2427–38. http://dx.doi.org/10.21744/lingcure.v5ns4.1992.
Abstract:
This article examines the national-cultural lines of Uzbek dance, the language of subject dances, and their movements. Therefore, along with many other intangible cultural heritage values, it is necessary to pass on to future generations the rich experience accumulated in the art of Uzbek national dance. "Preservation of the art of dance, which embodies national values, customs, and traditions, as an ancient source of our spirituality and culture, the restoration of its disappearing forms and movements, terms, the nature of dance, its structure, performance features, objects, clothing, and jewelry. The scientific study of the role of performance in complement, refinement, and bleaching is one of the urgent tasks facing the executive choreographer, organizer, and researchers working in the field of dance. To this end, one of the important issues facing the scientific community is to improve the textual and video recording system of dance performances, as well as the creation of special terminology.
37
Yasakov, Viktor S. "Cypraea Moneta (Cowry) Shells in Archaeological Sites of Eastern Europe: Spread, Classification, Use (8th Сentury BC – 7th Century AD)." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 42 (December 23, 2022): 194–205. http://dx.doi.org/10.24852/pa2022.4.42.194.205.
Abstract:
The paper publishes information about finds of Cypraea moneta (cowry) shells in archaeological sites of Eastern Europe of the VIII century BC – 7th century AD. There are 4 time periods during which cowry shells were distributed in Eastern European territories: 1. 8th – 6th centuries BC; 2. 5th – 1st centuries BC; 3. 11st– 5th centuries AD; 4. 6th – 7th centuries AD. Later the territorial (from Dniester region to the Kama region) and quantitative diversity of archaeological sites on which Cypraea moneta shells were found increased. They were of great value in the life of ancient Eurasian tribes. The proof of this is the variability of their use by local tribes. Cowry shells had both sacred and utilitarian uses. In the first case, they were used as amulets against the evil eye and maleficium. In everyday life cowries used as jewelry. They were sewn on women's dresses and headdresses, on the burial curtains, and were used as pendants for necklaces, bracelets and knives.
38
Nikiforova, Anastasiia, and Natlia Voronova. "Wood, Stone, Thread: Aesthetics of the Most Ancient Archetypes in Modern Decorative and Applied Art." Философия и культура, no. 9 (September 2022): 108–20. http://dx.doi.org/10.7256/2454-0757.2022.9.38781.
Abstract:
The article is devoted to the transformation of traditional folk culture archetypes of wood, stone, thread in modern decorative and applied art, as well as ways of using threads, wood and stone as materials for the manufacture of objects of modern art. The research does not aim to repeat classical ethnographic studies or to refer monographs on the history of culture. The article is an attempt at a comprehensive analysis of the modern practice of decorative and applied art from the point of view of the philosophy of culture and practical aesthetics. This approach is a unique experience in the analysis of jewelry and decorative practices of processing heterogeneous materials of natural origin. The cluster of masters of decorative and applied art in Russia is expanding, there are more and more opportunities and materials for creativity, but the authors of the products themselves are not engaged in stylistic, art criticism or philosophical understanding of their activities. Nevertheless, their works, according to researchers, reflect the oldest mythological images that are the cornerstones of Russian culture and represent the heritage of world culture, transformed by post-culture and man-made trends that have penetrated, among other things, into art. Archetypes of wood, stone, thread, preserved since ancient times, acquire new meanings and new forms of embodiment in the works of modern authors.
39
Bondar, Igor А. "The new Scandinavian zoomorphic amulet with runic inscription, through the lense of ancient germanic mythological system of the world." Scandinavian Philology 19, no. 1 (2021): 198–213. http://dx.doi.org/10.21638/11701/spbu21.2021.112.
Abstract:
The new rhombus-shaped cast amulet of the 10th century, made in the Borre style by means of the openwork metalworking technique, is a unique example of the Scandinavian jewelry tradition. The amulet originated from the region of the middle Dniester. The amulet and graffito are unique and they have no direct known analogies. This article is devoted to the study of semiotics and semantics of a zoomorphic pendant and elements of its image. The study carried out a structural-semantic analysis of the composition and individual elements of ornament through the paradigm of cosmological and cosmogonic representations of the ancient Germans. The work used the comparative method as well as a wide range of archaeological and literary sources. The picture stones and runic stones, Hogback stones, objects of material culture of the ancient Germans, results of comprehensive archaeological research, Old Norse songs about the gods and heroes of the “Younger Edda”, a set of Scandinavian sagas, Icelandic Viking sagas about Old Rus’ and materials from written sources of the XI– XIII Centuries were examined in detail and compared. The novelty of the research lies not only in the uniqueness of the new early medieval Scandinavian amulet, but also in the comparison and study of the object through the lens of the literary heritage of German- Scandinavian mythology. This approach was first applied in the detailed study of the “Gnezdovo-type” pendants. The methodological approach of the research and the historical-typological and semantic-semiotic analysis led to a scientific interpretation of the depicted story of the amulet within the context of the ancient Germanic mythological system and cosmogony.
40
Akhmedov, Jasurbek Zokirzhonovich. "Ahsikent – A Unique Site of Fergana Valley." Ethnic Culture, no. 1 (2) (March 20, 2020): 6–8. http://dx.doi.org/10.31483/r-75065.
Abstract:
The article is devoted to the issues of Ahsikent’s archaeological sites museumification. The aim of the article is to consider Ahsikent, which is the only thoroughly explored historical city of Ferghana, where as a result of archeological studies pottery in which iron and copper from Shakhristan were melted, as well as metal furnaces from artisans’ trade shops were found. Methods of study. The archaeological study of the site, which is described as "Fergana Afrosiyob", began in 1885. The results of the research. Excavations have shown that in the trade shops of Ahsikent various objects made with simplest metal and used for building and housekeeping, as well as swords and kargases that are capable to cut stones and not break when bending. The author also outlines that items found on the territory of Ahsikent indicate a high level of development of various crafts: pottery, metallurgy of bronze, contexture, jewelry, etc. The article also describes the methods of chemical conservation of sites, in particular, specific steps to restore the historical site of the The article also describes methods of chemical preservation of sites, specific steps to restore the historical site are proposed, among them: restoration of the ancient medieval appearance of Ahsikent with drawings and reliefs that depict the landscapes of Ahsikent; demonstration of the political, social and economic state of Ahsikent (writing, medical articles, coins); publication of decorative and applied art created by artisans (ceramics, glassware, jewelry), items related to military art (weapons of soldiers, arrows, bows), architectural structures (fragments of architectural decoration, foundations, stone products, ceramic pipes, wall paintings). It is concluded that it would be advisable to organize a multi-sided, deep and thorough study of the site of Ahsikent by attracting appropriate different specialists, turn Ahsikent into an open-air museum and introduce this area to international tourist destinations.
41
Kazantseva, Olga Alekseevna. "THE RITUAL OF TWIN BURIALS IN KUDASHEVSKY I BURIAL GROUND OF PERM PRIKAMYE." Yearbook of Finno-Ugric Studies 15, no. 2 (June 21, 2021): 341–53. http://dx.doi.org/10.35634/2224-9443-2021-15-2-341-353.
Abstract:
The article deals with the features of the funeral rite of the ancient population - twin burials on the example of the Kudashevsky I burial ground (3 - 5 centuries AD), located in the Bardymsky district of the Perm Region. In the ground part of the monument in the rows, along with individual pits are allocated a slightly larger size, but having the same orientation to the cardinal directions. All twin burials of the monument have inventory that does not differ from individual burials in the composition and number of items. But some details in the decoration of the burial place twin graves differ from individual graves. The funerary wooden structures in the graves represent separate places for each of the pair and differ in morphological details. Grave items of weapons and household items are found in men's graves, as well as in individual graves. Comparison of the accompanying inventory allows you to determine the gender and status of a person in a pair, to identify important people - men who played a significant role in the military and women who have set neck jewelry - necklaces. Armaments and household items were found in male graves, jewelry and household items in female burials, as well as in individual graves. The study of things in the burials made it possible to date the twin graves to the time of the late 4 - early 5 centuries. The issue of semantics of twin burials is considered. Twin burials are associated with the processes of assimilation of the newcomer population into the local population. Analogs to twin burials from burial sites of the middle of the 1 Millennium AD of the Perm and Udmurt Kama region are given.
42
Anikeeva, Olga, and Galina Kolganova. "Jewellery from Burial 2 Kurgan 1 Filippovka 1 Cemetery: Manufacturing Techniques, Purpose and Semantics of Images." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 1 (July 2020): 6–27. http://dx.doi.org/10.15688/nav.jvolsu.2020.1.1.
Abstract:
The article is dedicated to the publication of the unique jewelry which was found in the untouched noble female’s grave-pit of the Early Sarmatian elite burial ground located at Southern Urals. It stands out with an unordinary complicated construction, polychrome style, a variety of materials and techniques used in its manufacture, central disc containing cloisonne artwork. Analysis of the item’s burial context convincingly showed this item was not worn as a decoration in social life, but it was the precious relic used in religious ceremonies and ritual practices for short periods of time. A detailed study of manufacturing technology allows us to reconstruct the fastening ways and application methods for this jewelry. The search of analogies for images placed on the central medallion, made it possible to clarify its compositional semantics. Its central character is the sacred tree, guarded by the divine power of “khvarenah” deity. “Khvarenah” is presented by two guises - the winged sun disc and the sacred Veraghna birds. General meaning of the ritual reflects the idea of increasing fertility: ensuring the well-being and increasing offspring numbers, health, wealth and prosperity of the family. New Assyrian compositional scheme used in the medallion. It appeared at the beginning of the IX century BC and actively spread in Urartu and pre-Achaemenid Media since the VIII-VII centuries BC. This relic was found in the early nomadic burial site dating back to the IV century BC. All these show the significant continuity of ancient Iranian religious cults. They continue to exist in the satrapies of Achaemenid Iran, they are perceived by the elite of the Sarmatian tribes of the Southern Urals and they spread in a nomadic environment.
43
Halder, Debarati, and K. Jaishankar. "Property Rights of Hindu Women: A Feminist Review of Succession Laws of Ancient, Medieval, and Modern India." Journal of Law and Religion 24, no. 2 (2008): 663–87. http://dx.doi.org/10.1017/s0748081400001740.
Abstract:
Hindu women's legal right to inherit property has been restricted from the earliest times in Indian culture. In the ancient text Manusmriti, Manu writes: “Her father protects her in childhood, her husband protects her in youth and her sons protect her in old age; a woman is never fit for independence.” However, women were not always excluded from inheriting movable or immovable property from ancestral and marital families. But their proportion of share in the property was far less than that of their male counterparts.Throughout history, restrictions on Hindu women's property rights have undergone change, and current laws governing these rights are more liberal than those of ancient Hindu society. Patriarchal Hindu society provided women with property known as stridhan (literally, women's property or fortune), and it mainly came from marriage gifts (clothes, jewelry, and in some rare cases, landed properties). However, women were denied property rights to the ancestral or marital landed property, and their right over succession of the landed family property was limited. With the emergence of different schools of Hindu law, the concept of stridhan started expanding its literal and legal meaning, granting women more rights to certain forms of property. Later, the nineteenth and twentieth centuries witnessed the passage of several pieces of legislation that were intended to remove more of the barriers to full and equal property rights for Hindu women. Most recently, sexual discrimination in Hindu succession rules was mostly discontinued by the recent Hindu Succession (Amendment) Act (2005).
44
Zaikov, Viktor V., and Elizaveta V. Zaikova. "Mineralogical and Geochemical Indicators of the Sources of Gold for the Production of Ancient Jewelry Artifacts (The Case of the Urals)." Anthropology & Archeology of Eurasia 54, no. 2 (April 3, 2015): 27–46. http://dx.doi.org/10.1080/10611959.2015.1114861.
45
Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (June 6, 2019): 71. http://dx.doi.org/10.3390/arts8020071.
Abstract:
Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering vines appear in other contemporary media ranging from gold jewelry to pebble mosaics, perhaps influenced by the career of Pausias of Sicyon, who is credited in ancient sources with developing the art of flower painting. Through analysis of the types of flora depicted and the figures that inhabit these lush vegetal designs, this paper explores the blossoming tendrils on South Italian vases as an evocation of nature’s regenerative powers in the eschatological beliefs of peoples, Greek and Italic alike, occupying southern Italy.
46
Samashev, Zainolla, Aidos Erbulatovich Chotbaev, Nikolai Sergeevich Kurganov, Dmitrii Vasil'evich Pankin, Anastasiya Valer'evna Povolotskaya, Aleksei Viktorovich Kurochkin, Egor Petrovich Kitov, and Aleksandra Olegovna Kitova. "Natural scientific methods in exploration of reference monuments belonging to Saka culture in the Kazakh Altai." SENTENTIA. European Journal of Humanities and Social Sciences, no. 4 (April 2020): 1–10. http://dx.doi.org/10.25136/1339-3057.2020.4.33922.
Abstract:
This article examines the ancient gold jewelry with inlay, which were discovered in the process of archeological excavations of grave sites located on the Eleke Sazy Plateau, Tarbagatay Ridge in the East of Kazakhstan in the burial of a notable young man, conducted in summer of 2018. It is attributed to Saka culture, and dates back to approximately VIII – VII centuries BC. Among the objects, were found garments embroidered with gold, quiver with arrows, and bronze dagger in gold scabbard. This work examines the golden scabbard for the dagger. The scabbard consists of several parts attached to the wooden base and decorated with gold seeds and inlay. The inlay did not survive in many of the discovered items, but the traces of it remain. In the process of degradation, some jewels have changed their color, and currently look grey. Micro-samples for the research were selected from the crumbling fragments of inlay, acquired during restoration of the artifact. Modern natural scientific methods give broader opportunities for studying the material component of the objects of cultural heritage. Determination of composition of the object with most damage substantiates the reconstruction. In some cases, despite severe damage, the identification procedure can be conducted on the basis of the remaining particles, the size of which does not exceed tens of microns. Within the framework this work, the author examined the possibility for selection of such micro-samples with subsequent identification. The use of the Raman spectroscopic technique allows further examination of the selected micro-samples. Complementary methods of research include the Fourier transform infrared spectroscopy for studying the organic substances the inlay was attached to.
47
Artzi, Bat-ami. "Almost Like the Amazons." Latin American and Latinx Visual Culture 4, no. 3 (July 1, 2022): 54–74. http://dx.doi.org/10.1525/lavc.2022.4.3.54.
Abstract:
The duality concept was central to ancient Andean gender structures. However, testimonies show that these structures included more than two categories, several of which are of a male body engaged in feminine performance. This article suggests another angle from which to explore this gender complexity. Through analysis of visual culture, together with lexical, archaeological, and ethnohistoric sources, I uncover an Andean gender category of the masculine woman warrior. Textual accounts describe this category as involving a female body that is engaged with performance and qualities that were considered masculine. In artistic expressions, the category is also portrayed as a female body with masculine attributes, such as hairstyle and jewelry used typically by men. Another characteristic of the masculine woman category is limited reproductive potential. This study focuses on three masculine woman warriors: Mama Huaco and Chañan Cori Coca from the Inca tradition, documented in colonial texts and artworks, and a Wari masculine woman, woven and painted on textiles and ceramics. My research reveals that some masculine woman warriors were mythologized and worshipped for their prowess in defending their territories, while others may have been mythologized as military leaders.
48
Raka Dewantara, Anak Agung Gede, I. Wayan Srijaya, and Ida Bagus Sapta Jaya. "Kajian Ikonografi dan Fungsi Arca Hindu-Buddha di Pura Agung Batan Bingin Pejeng Kawan." Humanis 24, no. 3 (August 28, 2020): 266. http://dx.doi.org/10.24843/jh.2020.v24.i03.p05.
Abstract:
Period Hindu-Buddha in Indonesian, Leaving behind a variety of archaeological heights. Research to investigate the definition statue Hindu-Buddha at Agung Batan Bingin Temple, Pejeng Kawan Village. The purpose of this study is to reconstruct the history of Balinese culture in the past especially its aspect of religment. The writer apply this method for accumulation file like library study, observasion, interview as well as analysis, iconography. The theory used to help analysis is the functional theory. Based on the results of the research Found that there is an iconography mark in the statues of Hindu-Buddha on Agung Batan Bingin Temple. Iconography mark show the variety of jewelry, clothing, art, and posture depiction. Statue Hindu-Buddha on Bingin Temple including to ancient Balinese periodic. Statue Hindu-Buddha on Agung Batan Bingin Temple untill now still being used as an instrument of veneration by the people of Bali performing religious ceremonies, the Balinese people used to call it "Penyungsung Pura". Statue Hindu-Buddha the, believed in society pejeng kawan village as a means of begging for protection, safety, and plants fertility in society Pejeng Kawan Village.
49
Babadjanova, Munzifakhon M. "HISTORICAL AND ARCHAEOLOGICAL MONUMENT OF SARAZM - MONUMENT OF UNESCO WORLD HERITAGE." RSUH/RGGU Bulletin. Series Eurasian studies. History. Political science. International relations, no. 1 (2022): 184–89. http://dx.doi.org/10.28995/2686-7648-2022-1-184-189.
Abstract:
The article is devoted to one of the most ancient historical and archaeological monuments of Central Asia - the Sarazm settlement, which is located on the bank of the Zeravshan river in the Penjikent district of the Sughd region of the Republic of Tajikistan. The author reports that the Sarazm settlement was first discovered in 1976 by A.I. Isakov and since then it has been the subject to close interest of Tajik, Russian, French archaeologists. Within the course of their work, such important characteristics of Sarazm as the initial size of the settlement, its chronology, the evolution of the economy of the Sarazmians, and others were established. In particular, there are four periods in the Sarazmian history: 3500–3200 BC, 3200–2900 BC, 2900–2700 BC and 2700–2000 BC. The high days of the settlement came in the period of the Late Paleolithic and Early Bronze Age. The Sarazm population was engaged in agriculture and livestock breeding, the crafts of the Sarazmians were at a high level, as evidenced by the finding of well-preserved buildings (palatial , religious, residential), tools and jewelry. The author also emphasizes that the Sarazm settlement was one of the main metallurgical centers of the region, which used its own raw materials (due to the rich resource potential of the mountains in the upper reaches of the Zeravshan River) and had steady contacts with the ancient population of Iran, Baluchistan, Afghanistan, India and others. The uniqueness of the historical and archaeological site of Sarazm and its significance for world history and culture were confirmed in 2010, when Sarazm was included in the list of UNESCO World Heritage Sites.
50
Валерия Станиславовна, Кучко,. "Russian Pearls: An Historical and Ethnographic Study." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (January 2, 2023): 69–78. http://dx.doi.org/10.26158/tk.2022.23.4.006.
Abstract:
В статье с опорой на исторические и этнографические источники крат ко прослежена история добычи, распространения и использования русского жемчуга. Жемчуг, начиная с древнерусской эпохи, был важным и широко используемым камнем в русской культуре, известным не только высшим сословиям и духовенству, но и другим слоям общества, в том числе крестьянству. Обилие жемчуга обеспечивалось прежде всего его местным происхождением (хотя через Россию проходили торговые пути из других мест добычи жемчуга). Внимание в статье сосредоточено на тех сферах бытования жемчуга, где он соприкасался с крестьянской средой, что обеспечило ему проникновение в быт (в народное ювелирное и декоративное искусство, особенно в области женского праздничного костюма) и народное творчество, где жемчуг имеет высокую символическую нагрузку. Этими сферами были: собственно добыча жемчуженосного моллюска в реках, преимущественно севернорусских (жемчужный промысел, за исключением недолгого периода, в первой половине XVIII в. был вольным, чаще всего индивидуальным или семейным); сбыт жемчужин перекупщикам или самостоятельная продажа жемчуга и изделий из него на ярмарках; изготовление украшений и вышивка праздничного костюма. В обрядовой сфере жемчуг функционировал минимально. This article briefly traces the history of the extraction, distribution and use of Russian pearls based on historical and ethnographic sources. Pearls have been an important and widely used material in Russian culture since ancient times, known not only to the upper classes and clergy, but also to other segments of society, including the peasantry. Most pearls came from local sources, although trade routes brought some from other sources. The article focuses on those spheres of pearls’ existence where they came into contact with the peasantry and entered everyday life - into traditional jewelry and decorative art, especially in the field of women’s festive costume, and into folk art, where pearls have high symbolic value. Pearls were extracted from river mollusks, especially in Russian North. Except for a short period in the first half of the eighteenth century, pearl harvesting was free, most often carried out by an individual or family. Pearls were marketed by resellers or sold at fairs separately or in products with them. The latter included jewelry and festive costumes embroidered with pearls. In the ritual sphere pearls had minimal use.