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Journal articles on the topic 'Jewelry'
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1
Auble, Cassandra. "Royal Jewelry Exchange in Sixteenth Century Anglo-Scottish Politics." Explorations in Renaissance Culture 46, no. 1 (June 24, 2020): 70–82. http://dx.doi.org/10.1163/23526963-04601002.
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This paper explores how Mary, Queen of Scots and Elizabeth i utilized jewelry in political settings to construct meaning, represent themselves, and negotiate personal and political relationships. Studying the complexities of jewelry’s exchange and circulation between the courts of England and Scotland provides a more nuanced picture of early modern diplomacy and material culture. Jewelry provided a valuable resource from which rulers and diplomats regularly drew when framing their political discourse. Jewels used in diplomacy were as politically meaningful as the gestures and rituals of formal diplomatic audiences and domestic ceremonies. As an object of exchange with a variety of functions, jewelry was absorbent of meaning and memories. Thus, jewelry could forge bonds between those who exchanged it, and also bring about hostilities and complications.
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Dadamukhamedov, Bobur. "DEVELOPMENT PROCESSES OF INNOVATIVE JEWELRY ART IN UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 04, no. 02 (February 1, 2023): 1–6. http://dx.doi.org/10.37547/history-crjh-04-02-01.
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The article analyzes the innovative style and jewelry based on it, created in 2000-2022 on the basis of such trends as modern, non-traditional, modern, avant-garde in the work of young jewelers and their creations. It was analyzed that the creativity of representatives of the older generation and many other young talented jewelers in the innovative direction continue to strive to create innovative jewelry, as well as to produce high-quality original jewelry in jewelry factories, enterprises and brands.
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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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Ермалицкая, К. Ф., and Н. А. Плавинский. "Preliminary Results of the Nonferrous Metals Articles from the Barrow Cemeteries in Western Regions of Polotsk Land Element Composition Study." Археология и история Пскова и Псковской земли, no. 33 (December 25, 2018): 288–94. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-278-0.288-294.
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В белорусской археологии Средневековья мало внимания уделяется технологии изготовления и составу металла ювелирных изделий. Такая ситуация не позволяет получить полное понимание особенностей технологии ювелирного ремесла, определение центров ювелирных изделий производство и способы попадания в регион сырья, необходимого для работы ювелиров. В данной публикации представлены предварительные результаты исследования ювелирных изделий с погребальных памятников верхнего Повилья. In Belarusian archeology of the Middle Ages little attention is paid to the technology of manufacturing and composition of metals. Such situation does not allow to get a full understanding of the jewelery handicraft technology features, to determine the centers of jewelry production and the ways of entering the region of raw materials necessary for the work of jewelers. In this publication preliminary results of the study of jewelry from burial cemeteries of the Upper Viliya Region are represented.
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Afzal, Syeda Sadia. "Importance of jewelry in Women: Case Study in Pakistan." Journal La Sociale 1, no. 2 (May 19, 2020): 27–32. http://dx.doi.org/10.37899/journal-la-sociale.v1i2.92.
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Jewelry’s anecdotes have been growing up since kingdom times. Getting acceptation day by day, women are using jewelry cutturely, etiquette generation and acquiesce. Passion of jewelry in women has trending now a days, another trending of young generation to become more attractive and beautiful with the help of jewelry. Everyone use jewelry for their capacity like, Diamon, Gold, Silver, Pearls and other materials. Time is changed and the importance of jewelry has been increased, Gold and Silver’s values are different but getting expensive of Gold other material take place here some other introduction of jewelry.
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Pereira, Beulah, Kevin Teah, Billy Sung, and Min Teah. "Building blocks of the luxury jewellery industry: conversations with a CEO." Asia Pacific Journal of Marketing and Logistics 31, no. 4 (September 9, 2019): 817–29. http://dx.doi.org/10.1108/apjml-10-2018-0415.
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Purpose The purpose of this paper is to conduct an in-depth interview with the Chief Executive Officer (CEO) of Larry Jewelry, a luxury jeweller with boutiques in Hong Kong and Singapore. Given the ever-evolving luxury jewellery market in South East Asia, it is paramount to understand the success factors of the luxury jewellery sector. Design/methodology/approach An in-depth interview approach is used to understand the antecedents of the success of the luxury jewellery sector. Specifically, this paper presents a complex business model of Larry Jewelry and an in-depth interview with the CEO of Larry Jewelry for current insights in the sector. Findings This paper highlights the history of Larry Jewelry, its product segments and the key elements of its business blueprint. Specifically, the success of Larry Jewelry is attributed to its business model and strong branding on quality, craftsmanship, rarity, human interaction and trust. Originality/value Despite the substantial growth in the luxury jewellery sector, there is relatively little research on the success factors of this industry, especially in South East Asia. The current research provides practical insights into business blueprint of a successful luxury jeweller in Hong Kong and Singapore.
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Kravchenko, Marta. "Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis." Text and Image: Essential Problems in Art History, no. 1 (2019): 77–89. http://dx.doi.org/10.17721/2519-4801.2019.1.05.
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The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.
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Sapfirova, N. "AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913." Innovative Solution in Modern Science 6, no. 42 (February 28, 2021): 204. http://dx.doi.org/10.26886/2414-634x.6(42)2020.12.
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The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.
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Ariza, Nur, Nuriadi Manurung, and Masitah Handayani. "FORECASTING THE GOLD JEWELRY SALES USING SINGLE EXPONENTIAL SMOOTHING METHOD." Jurnal Teknik Informatika (Jutif) 3, no. 6 (December 26, 2022): 1573–80. http://dx.doi.org/10.20884/1.jutif.2022.3.6.395.
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Gold is a precious metal that plays an important role in people's daily lives. People use gold jewelry as a dowry so that gold is sought after, such as earrings, necklaces, pendants, bracelets, rings and others. However, buying and selling gold jewelry at a gold jewelry store has a different strategy. Gold sellers must carry out the gold jewelry production process to meet gold jewelry supplies and market demand. The results of the sale of gold jewelry sometimes increase and decrease every day which cannot be predicted every day, so this can affect the store to find out the profits and losses that will be obtained in the future. The purpose of this study was to determine the results of forecasting sales of gold jewelry at the Yoga Gold Shop using the single exponential smoothing method in the coming month. The results of this study resulted in March 2022 9 carat gold jewelry totaling 4191.16 grams with a 3.01% MAPE, 10 carat gold totaling 2095.53 grams with a 3.01% MAPE, Surabaya gold 1047.76 grams with a 3.03% MAPE and london gold jewelery 523.83 grams with a MAPE of 3.41%. So it can be concluded that applying the single exponential smoothing method can help in predicting the sales results of gold jewelry.
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Waridah Muthiah and Agus Sachari. "MOTIF KALAMAKARA PADA TEMUAN PERHIASAN EMAS ERA MAJAPAHIT KOLEKSI MUSEUM NASIONAL JAKARTA." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 3 (February 17, 2021): 36–41. http://dx.doi.org/10.33153/semhas.v3i0.135.
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Jewelry in the Classical era in Indonesia, especially in the Late Classic era, occupies an important position in society. Apart from being a symbol of a person's status and position, when discussing the depiction of jewelry on a statue or relief, the jewelry worn by a character is also an indication in determining the identity of the character. Jewelry in the Late Classical era was made of gold, which was considered to have high material, symbolic, and religious value in society at that time. Based on the findings of jewelry in the Late Classic era, especially the Majapahit era, there is an interesting phenomenon, namely the depiction of animal figures as decorations or ornaments. This phenomenon is seen in the crown, earrings, and shoulder harness, as found in Trowulan. In some jewelery, the form of kalamakara (kalamakara) is displayed, which is usually depicted on the gate of the temple, as a repellent to disaster. The depiction of kalamakara in jewelry raises questions about the background behind the depiction. This research was conducted using qualitative methods through observation of four samples of Majapahit era jewelry found in Trowulan, the collection of the Jakarta National Museum. It can be concluded that the existence of kalamakara as a motif in jewelry is related to the meaning of kalamakara in Javanese society, namely as a repellent for disaster.
Keywords: jewelry, kalamakara motif, Majapahit era
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Valeev, R. M., and D. D. Rashitov. "Tatar jewelry business of the Kazan province of the early XX century in the context of professional development." Heritage and Modern Times 6, no. 2 (September 21, 2023): 103–12. http://dx.doi.org/10.52883/2619-0214-2023-6-2-103-112.
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The article deals with the historical and cultural component of the Tatar jewelry business of the Kazan province at the beginning of the 20th century. The purpose of the article is to present a comprehensive historical and cultural analysis of the Tatar jewelry of this period: to create a general picture of the development of the jewelry craft, its interaction with professional cultural traditions, and consideration of the decorative and symbolic meaning of jewelry. To address the issues raised, a typology of jewelry typical of Tatar jewelers during the study period was carried out, technical and technological features were identified, decorative and technical solutions were described, and everyday and social aspects within the profession were highlighted.
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Hussein, Rifaat. "LEGAL SOLUTIONS To SELL GOLD and SILVER JEWELRY in DEBT." Islamic Sciences Journal 10, no. 4 (March 9, 2023): 51–80. http://dx.doi.org/10.25130/jis.19.10.4.4.
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This research deals with the ruling on selling gold and silver jewelery in debt. It is well known that the majority of jurists and modern Fiqh Jurisprudence have agreed on the inviolability of selling gold and silver jewelery with religion. Therefore I wanted to look for legal solutions and jurisprudential exegesis from falling into forbidden riba. There are two legitimate ways to get rid of falling into riba:
The first is his photo: two people are contracted to buy jewelery in cash, but the buyer buys the jewelry from the seller, then he buys all or part of the price. The buyer then receives the money and then pays the seller a price for the jewelry
The second way out: His image is that a person deals with a goldsmith, and he takes gold and silver jewelry as a loan. The lender then refunds it to him other than the other currencies, such as the Iraqi dinar, the US dollar or other currencies.
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Rashitov, Danil Damirovich, and Anton Evgen'evich Lestev. "Modern jewelry art of Kazan: jewelry models of architectural monuments." Культура и искусство, no. 5 (May 2021): 101–13. http://dx.doi.org/10.7256/2454-0625.2021.5.33445.
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The subject of this research is the modern history of development of Kazan jewelry art. The article explores the development of Kazan jewelry art in the 2000s; the creation of remarkable jewelry artworks as the models of famous architectural monument and their authors. The research material contains the iconographic sources – unique images of the jewelry art patterns, as well as testimonies of the eyewitnesses – the jewelry artists. One of the authors is the direct participant and co-author of the jewelry works under review Thus, the article employs the method of overt observation, interviewing, and source analysis. The scientific novelty is first and foremost defined by the chronological proximity of the studied period. The article introduces the previously unpublished images of the jewelry artworks under consideration, as well as the new facts on the revival of jewelry art in Kazan of post-Soviet period. Analysis is conducted on the sources of the revival of Kazan jewelry art and the peculiarities of jewelry works. The article also unveils the plotlines of the jewelry works and history behind them. The conclusion is made that the revival of jewelry art in Kazan, which was partially lost in the Soviet period, has begun only in the late 1990s – early 2000s. After the removal of a number of legislative restrictions, the jewelers were given the opportunity to experiment and create the true works of art.
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Varyvonchyk, Anastasiіa, Oleksandr Tsugorka, and Bogdan Mazur. "Historical context and current trends in the jewelry art of Ukraine." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 32–36. http://dx.doi.org/10.32461/2226-2180.39.2021.238677.
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The purpose of the article. Illumination of the problem of the decline of traditional folk arts associated with the functioning of unique art crafts in Ukraine in the direction of jewelry art. Methodology. The research methodology is based on the use of observations of art-historical, historical and cultural analysis. The scientific novelty lies in focusing on the disclosure of historical facts of the development of jewelry art in Ukraine, which further contributed to mass production on enterprises organized by the state and the definition of the overall issue of jewelry. Conclusions. At the end of the twentieth century, most state-owned enterprises have not sustained the economic transition to market relations. The loss of the supply system of raw materials, the decomposition of interregional well-established connections, restrictions of masters in creative opportunities, an inadequate taxation system, the rise in the price of energy carriers, and the reduction of sales volumes affected the rapid fall in the activities of art jewelry. Modern masters of jewelers after the proclaiming of sovereign Ukraine continued to develop, which noted the creation of the state's poster service of Ukraine, and later the collective association - the association of jewelers of Ukraine. Oriented on world fashion trends increased the aesthetic and artistic level of products of the Ukrainian jewelry industry. Education and growth of small private jewelry firms, carrying out personal and group exhibitions of jewelers in Kyiv, Lviv, and other cities have a positive effect on the artistic form of products, which has not always correlated with the economic component.
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Matcan-Lisenco, Inga. "THE PROMOTION OF NATIONAL IDENTITY AND ROMANIAN TRADITIONAL AESTHETICS THROUGH THE USE OF CONTEMPORARY ADORNMENTS." Journal of Social Sciences VI, no. 4 (January 2024): 41–51. http://dx.doi.org/10.52326/jss.utm.2023.6(4).04.
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This study accentuates the importance of the contemporary jewelry in the promotion of the national Bessarabanian identity. Romanian jewelry and adornments can include traditional elements, materials and techniques for the purpose of creating a unique masterpiece, which reflect Romanian culture. The ways through which contemporary jewerly can help promote Romanian national and traditional identity include inspiring traditional motifs, exploring cultural symbols, education and awareness, collaborating with local designers, and promoting sustainability. This study highlights the vital role of contemporary jewelry in preserving and transmitting Romanian Cultural Values in Bessarabia to future generations and in creating deep connections between artists, designers and the local community. It also highlights the importance of national identity in the development of contemporary jewelry, which can contribute to the promotion of Romanian traditions and crafts in the contemporary global context.
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Rudenko, Konstantin A. "Treasures of the Elite of the Bulgharian Ulus of the Golden Horde." Golden Horde Review 9, no. 3 (September 29, 2021): 520–46. http://dx.doi.org/10.22378/2313-6197.2021-9-3.520-546.
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Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.
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Li, Jian Wen. "The Material Aesthetics Transformation of Jewelry Design." Advanced Materials Research 785-786 (September 2013): 1590–92. http://dx.doi.org/10.4028/www.scientific.net/amr.785-786.1590.
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With the Value Change of Jewelry itself, Jewelry Culture has Become an Independent Art Discipline. Modern Jewelry has Widely Served as Expression Media of Information，and the Standard Judging the Value of Jewelry has Transferred from those Expensive Materials such as Gold, Silver and Jewel to those Cheap, Common Materials of Environmental Protection. in the Process of Redefining the Material, the Common Materials are Endowed with Rich Cultural Connotations through Design and Become the Carrier of the Multisense of Modern People.
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Ермакова, Екатерина Станиславовна. "From Folk Tradition to the Modern Studio Jewelry Art of Central Asia." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 63–76. http://dx.doi.org/10.26158/tk.2020.21.2.006.
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В Средней Азии авторское ювелирное искусство возникает в 1970-1980-х гг. Оно пришло на смену народному традиционному. В статье исследуются характерные признаки традиционного и современного авторского (студийного) ювелирного искусства. Среди выделенных свойств самыми важными являются объем информации и свобода выбора. Сегодня сформировались три основных стилистических направления, для каждого из них характерно определенное отношение к традиционным и новым материалам. Первое - традиционная школа, в рамках которой мастера копируют старинные украшения, используя традиционные материалы. Второе - этнический стиль, главная задача которого не копирование старых форм, а создание узнаваемого образа, связанного с национальной культурой. При переходе на классическую технику филиграни, выбирая материалы, ювелиры следуют своим эстетическим представлениям и вкусам потребителя. Третье - современный авторский стиль, основанный на индивидуальном восприятии национальной культуры. В авангардных авторских работах художник свободно обращается с новыми для ювелирного искусства материалами, используя дерево, кожу, войлок, кость, шелк. In Central Asia, modern studio jewelry art came to life in the late 1970s and 1980s. It replaced traditional folk jewelry. It this article the author investigates the characteristic features of both traditional and modern jewelry. She singles out the main difference between a folk craftsman and a modern artist-jeweler as the latter’s greater freedom of creative choice; while the folk craftsman was circumscribed by tradition and limited information, modern jewelers who position themselves as artists strive to create something unique and able to be copyrighted. Today there are three main trends in the art of Central Asian jewelry that demonstrate specific uses of both traditional and new materials. The first one, that may be called “traditional school,” practices the copying of old forms, techniques and materials. Another group of artists work in the “ethnic style,” creating images inspired by traditional culture but not copying old forms or decorative motifs. They use traditional filigree techniques in order to express their artistic imagination as well as satisfy the needs and tastes of their customers. The third, “avant-garde,” group of contemporary jewelers work in an original style based on personal interpretations of local cultural traditions. They explore new materials, such as wood, leather, felt, silk and animal bone that were never used before in local jewelry.
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Жилина, Н. В. "MEDIEVAL JEWELRY OF THE SLAVIC PEOPLES: JEWELERY (COMPARATIVE ANALYSIS)." Вестник Тверского государственного университета. Серия: История, no. 1(65) (April 21, 2023): 77–95. http://dx.doi.org/10.26456/vthistory/2023.1.077-095.
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Статья посвящена характеристике ювелирной стадии убора из украшений славянских народов (IX–XV вв.). Автор показывает, что в славянских государствах в процессе восприятия византийского ювелирного дела и взаимодействия с ним был выработан общеславянский филигранный ювелирный набор. Сформировавшийся первоначально в Моравии, ювелирный убор, попадая вместе с выходцами из Моравии в другие славянские государства, перерабатывался, здесь устоялись отличные в деталях формы украшений. Показывается развитие в славянских государствах собственных технологических навыков, основа которых всё же оставалась византийской или моравской. Делается заключение, что в XI–XV вв. своеобразие уборов славянских народов усиливается: развиваются уборы разных ювелирных техник, формируются крупные объёмные головные подвески (колты), женский головной убор получает диадемную конструкцию, формируются женские короны. The article is devoted to the characteristics of the jewelry stage of dressing from the adornments of the Slavic peoples (IX–XV centuries). The author shows that in the Slavic states, in the process of perception of Byzantine jewelry and interaction with it, a pan-Slavic filigree jewelry set was developed. Jewelry was formed in Moravia, then spread along with immigrants from Moravia to other Slavic states, here, in the process of its processing, forms of jewelry excellent in detail were established. It shows the development in the Slavic states of their own technological skills, the basis of which still remained Byzantine or Moravian. It is concluded that in the XI-XV centuries. The originality of the headwear of the Slavic peoples is intensifying: headdresses of various jewelry techniques are developing, large volumetric head pendants (colts) are being formed, women's headwear is getting a diadem design, women's crowns are being formed.
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Zhang, Guoqing, Jiangtao Wang, Junxin Li, Xiaoyu Zhou, and Yongsheng Zhou. "Research on Key Technologies of Jewelry Design and Manufacturing Based on 3D Printing Technology." Coatings 14, no. 6 (June 3, 2024): 701. http://dx.doi.org/10.3390/coatings14060701.
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In conjunction with the swift enhancement of China’s economic prowess, the demand for jewelry among the populace is gradually evolving towards personalized, customized, and intricate designs. Traditional manufacturing approaches are increasingly inadequate to meet these evolving demands. However, the advent of 3D printing technology presents a viable solution for the direct fabrication of such sophisticated jewelry. To this end, the conceptualization of personalized jewelry inspiration is initiated, followed by the implementation of parametric design using SolidWorks 2018 software. Subsequently, 3D printing technology is employed to materialize the jewelry directly. Results indicate that the “Guardian” jewelry model, crafted through the parametric modeling method, exhibits a commendable design, and adheres to processing requirements following a comprehensive risk analysis. The strategic adjustment of the jewelry’s position effectively reduces the required support, circumventing the necessity of adding support to critical surfaces. The surface of the Selective Laser Melting (SLM)-manufactured “Guardian” jewelry boasts a lustrous finish, showcasing optimal overlap between pillars and excellent connectivity among pores. Minimal powder adherence on the surface is observed, enabling direct utilization post-sandblasting, polishing, and plating. This establishes a solid foundation for the direct application of SLM-manufactured personalized jewelry.
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Lipczik, Agata. "Making a Name in a Male-dominated Industry: Women Jewelers in Poland Before 1939." Załącznik Kulturoznawczy, no. 9 (2022): 803–21. http://dx.doi.org/10.21697/zk.2022.9.40.
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The article aims to present the opportunities for women’s professional development in the jewelry industry in prewar Poland. By analyzing the biographies of selected women jewelers who trained in the 1930s, the career paths available at that time were indicated. The article also tries to answer the question of how the conditions in which the jewelry industry in Poland operated at that time influenced the situation of women entering the profession. It can serve as a reference point for further research on the presence of women in jewelry in Poland and Central and Eastern Europe.
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Condraticova, Liliana. "The local school of jewelry: unknown and unjustly lost names." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 55–62. http://dx.doi.org/10.59295/dia.2023.1.07.
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Associated in workshops or as freelancers, working mainly in the city of Chișinău as one of the most important socio-economic and cultural centers of the country, jewelers and craftsmen have left an indisputable legacy, conceived in many articles of historical, artistic and memorial value. The 1972–1991 years were marked by the founding of the Jewellery Workshop of the Plastic Fund of the UNAP (1972), which allowed the concentration and unification of the efforts of the few artists who artistically processed metals. The jewelers worked in the Jewellery Workshop, promoting and continuing the traditions of the local school, they created decorative articles and author jewelry. They created professional articles, from an artistic and technological point of view, and participated at exhibitions. The aim of this article is to bring into prominence the name of a few artists from MSSR, who worked at the Jewellery Workshop since its foundation and had an essential impact in the assertion of the art of metals in the MSSR. The local school included craftsmen, who studied at artistic educational institutions from MSSR, as well as those self-taught in the metal art field. Names like Ovidiu Alexeenco, Valeriu Vinitchi, Vasile Shocin hold a special place alongside such artists, as Oleg Barascov, Gheorghe Cojusnean, Vladimir Kalasnikov, Semion Odainic, Natalia Vavilina, Victor Rotari etc., who developed together the local school in the field of metal art.
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NALÇACIGİL, Emre, and Ahmet Fatih ÖZYILMAZ. "A Research on Marketing and Consumer Habits in Konya Jewelry Sector." ISPEC International Journal of Social Sciences & Humanities 4, no. 4 (September 5, 2020): 350–86. http://dx.doi.org/10.46291/ispecijsshvol4iss4pp350-386.
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More than 50 percent of the world's gold production and more than 90 percent in our country are used in jewelry making. Gold, which has been used for decoration and investment instrument for centuries, continues to be demanded by the people of our country in order to both decorate and saving with a habit stemming from our traditions. Turkey’s jewelry sector, which is in the top 5 in the world gold demand and ranked 2nd in gold jewelry exports, currently has 5500 jewelry shops, 20 large jewelry production complexes, 100 wholesale jewelry stores, 40 thousand jewelry shops and 250 thousand employees work in this sector. Jewelry sector has produced for many years with manual labor. Today, the sector has to keep up with the transition to technology-intensive production in order to operate in the world markets and to meet the increasing export demand. The problems of the sector, which has come to a certain place in the world markets and strives for first place, are dealing with greater attention than before. After 1990, the sector was put into a reform process. Necessary institutions for the development of the sector have been put into operation. On the other hand, the development of this industry; While it manifests itself in issues such as branding, product design, technological innovations, marketing strategies, deficiencies in legal regulations damage especially the small-scale jewelry traders. In this study, luxury consumption and hedonic shopping habits are examined by searching literature. In this respect, the phenomenon of consumption was first examined in detail. In the second part, the jewelry sector was explained in all aspects, and then a research was conducted on the consumer habits and the state of the sector with the support of the Konya Jewelers Association.
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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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Wijaya, I. Putu Sinar, and Ngurah Adhi Santosa. "Kajian Manuk Dewata pada Hiasan Kerajinan Bungkung Bali “Ornamen Bali”." Journal on Education 5, no. 1 (December 24, 2022): 808–14. http://dx.doi.org/10.31004/joe.v5i1.687.
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Balinese jewelery from the royal era is still popular and has also been developed by several jewelery craftsmen, with existing and new designs and motifs, Balinese handicrafts with manuk dewata motifs and the addition of Balinese ornaments, where the manuk dewata motif has a different philosophy. Strong with Balinese Hindu culture and customs. The method used is descriptive research which aims to describe, record, analyze and interpret current conditions that occur in the field. Types and approaches are very important in the preparation of research, while the type of research used is qualitative research. Manuk Dewata itself, especially in Bali, is used as a symbol in the Ngaben ceremony because it is believed to be a spirit that conveys immortality, so Balinese craftsmen make humung jewelry designs with manuk dewata motifs with a combination of other Balinese ornaments, thus creating a work of jewelry made of bamboo made of gold and gold. silver, from the royal era until now is called and known by the manuk dewata motif. The manuk dewata motif was requested because this motif looks classic and timeless, it even looks more dignified for those who wear jewelry with this manuk dewata motif.
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Podosenova, Yu. "Grain-filigree cross-shaped pendants of the Permian Pre-Urals region." Proceedings of the Komi Science Centre of the Ural Division of the Russian Academy of Sciences, no. 1 (May 17, 2023): 19–25. http://dx.doi.org/10.19110/1994-5655-2023-1-19-25.
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The jewelry heritage of the Rodanovo culture, the Western Urals, includes cross-shaped pendants with a silver plate as a base with a grain-filigree decoration. The article highlights the study results of these jewels. Collection, visual analysis, and study of sources with different methods allow for a detailed view about the design of items, their production specificity and decoration techniques, as well as about their origin and distribution period. The jewels were made of silver and decorated in various jewelry techniques as granulation and filigree, with inserts of ornamental stones and glass, embossed elements in form of semi-spheres, gilding. The identified stylistic and technological characteristics of the artefacts indicate that the jewelry pieces were made by local craftsmen. Almost all pendants are rather standard, few in number, produced not later than in the end XI-XII centuries.
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Hogan, Elena N. "Jewels of the Occupation: Gold Wedding Jewelry in the West Bank." Journal of Palestine Studies 39, no. 4 (2010): 43–49. http://dx.doi.org/10.1525/jps.2010.xxxix.4.43.
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This article examines the social role and broader cultural meanings of gold jewelry used in Muslim weddings in the West Bank---"marriage jewelry" that by right belongs exclusively to the woman and whose socio-symbolic value extends far beyond its market value. Through interviews with muftis, gold dealers, and especially Palestinian women, the article explores the unwritten "rules" governing marriage jewelry's exchange, and how these rules are affected in a context of occupation and economic hardship. In particular, the author discusses the relatively new phenomenon of imitation (or "virtual") gold jewelry for public display in wedding rites, exploring the new rules growing up around it and speculating on its long-term impact on entrenched traditions.
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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.
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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.
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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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Ionesov, Vladimir I., and Ilgiz F. Fazulzyanov. "Aesthetics of Samarkand in Ilgiz Fazulzyanov’s Jewelry Art: Heritage as an Area of Creativity." Sphere of culture 4, no. 1 (May 23, 2023): 121–30. http://dx.doi.org/10.48164/2713-301x_2023_11_121.
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The editorial board of the journal presents a conversation of Vladimir Ionesov (Doctor of Culturology, Professor, Samara State Institute of Culture) with Ilgiz Fazulzyanov, a well-known Russian artist and jeweler. The issues of aesthetic transformation of national traditions in modern applied art are discussed on the example of the jewelry collection Samarkand. The article reveals the peculiarities of artistic design in jewelry art, the aesthetics of the historical heritage of Samarkand, and the interaction of the past and the present in the dialogue of cultures and time as well as semantic, stylistic and value attitudes in the creative design of modern jewelry art objects. National artistic traditions are considered as a source of high inspiration, a generator of new cultural practices and actual creative work.
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Reed, James. "Jewelry." Organization & Environment 16, no. 2 (June 2003): 231. http://dx.doi.org/10.1177/1086026603016002010.
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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.
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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.
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Dospěl Williams, Elizabeth. "Gems in Cloth and Stone: Medium, Materiality, and the Late Antique Jeweled Aesthetic." Textile Museum Journal 45, no. 1 (2018): 22–39. http://dx.doi.org/10.1353/tmj.2018.a932727.
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Abstract: In The Jeweled Style: Poetry and Poetics in Late Antiquity , Michael Roberts argues that color, opulence, repetition, and variety epitomized the period’s aesthetics, a phenomenon he terms the “jeweled style.” Although Roberts did not consider textiles in his analyses, this article argues that fabrics participated in the same trends, perhaps even serving as intermediaries in the transfer of motifs between actual gemstones and architectural decoration. The first part of the article shows how Roberts’s definition of the jeweled style fits in larger art historical discussions about late antique aesthetics and visuality. The bulk of the article presents examples of tapestry-woven textiles from the fourth through eighth centuries that depict gems and jewelry in woven form. Many tunics, for example, depict gemstones along their collars; furnishing textiles, too, frequently include representations of gems and jewelry, most notably at the edges of fabrics or as part of woven renderings of architectural structures like columns and arcades. On the most basic level, these woven gemstones reflect the broad popularity of the jeweled aesthetic among a wide social spectrum and in a variety of contexts, especially in fabric furnishings. More particularly, the popularity of jeweled motifs in textiles points to a sophisticated appreciation for artistic bravura, as weavers pushed against the limits of the textile medium to transform yarns into precious stones. Lastly, the article argues that a focus on textiles with jeweled designs points to the interrelatedness of ornamental motifs in late antique jewelry, textiles, and architectural décor, an observation which in turn highlights compelling aesthetic connections between the adorned human body and the built environment.
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Хавлюк, Павло. "Ювелірна справа в уличів." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 1 (June 12, 1999): 13–19. http://dx.doi.org/10.31652/2411-2143-1999-01-13-19.
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Since the middle of the last century, a significant number of women's earrings of original shapes have been found on the territory of the forest-steppe Right Bank of Ukraine, which have attracted the attention of researchers for their perfection and artistic completeness. Although these finds were discovered mainly during household work, which made it difficult to determine the place of their manufacture, bronze stamps from the Peresopnytsia burial site in Volyn were attributed to women and associated with their earrings. Most of the finds of such earrings are concentrated in the Southern Pobuzhzhia and the Prut-Dniester interfluve, mainly in Kodra. Research of treasures and archaeological excavations in the Nemyriv district confirms the existence of local jewelry production. A jeweler's treasure found in Chervone, containing stamps, unfinished pieces, and tools, shows the high level of skill of street jewelers. The jewelry craft of the street jewelers included the production of two types of earrings: massive full-bodied and openwork hollow earrings, which had a wide range of techniques such as casting, soldering, skinning, and grain. The high quality and standardization of the products demonstrate the significant development of jewelry art in this region, despite the lack of its own raw material base. The archaeological materials collected refute the claims of some researchers about the low level of artistic craftsmanship of the Slavs, in particular the ulichs. They show that the jewelry production of the Ulychi reached a high level in the IX-XII centuries and was an important component of the socio-economic development of the forest-steppe region where the Ulychi lived.
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Loughran, Kristyne S., and John Mack. "Ethnic Jewelry." International Journal of African Historical Studies 22, no. 2 (1989): 382. http://dx.doi.org/10.2307/220084.
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Reed, Vernon. "Cybernetic Jewelry." Leonardo. Supplemental Issue 1 (1988): 120. http://dx.doi.org/10.2307/1557927.
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Axelrod, Mark. "Monet Jewelry." Iowa Review 26, no. 3 (October 1996): 163–65. http://dx.doi.org/10.17077/0021-065x.4521.
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Yamauchi, Takuya, and Toru Iwatake. "Sound Jewelry." Leonardo Music Journal 18 (December 2008): 33–37. http://dx.doi.org/10.1162/lmj.2008.18.33.
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The Sound Jewelry concept occurred to co-author Toru Iwatake, a composer, a few years ago. Since then, its realization has become a collaborative project with co-author Takuya Yamauchi, an interaction designer. Sound Jewelry is an evolving project, therefore the actual method of its realization may differ in one way or another with each use, but the essential concept of creating an interactive sound environment using sensing capabilities remains the same.
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Akre, Roger D., Laurel D. Hansen, and Richard S. Zack. "Insect Jewelry." American Entomologist 37, no. 2 (1991): 90–95. http://dx.doi.org/10.1093/ae/37.2.90.
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Liu, Robert K., and John Mack. "Ethnic Jewelry." African Arts 22, no. 3 (May 1989): 25. http://dx.doi.org/10.2307/3336772.
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Er, Birnaz. "The Position of Traditional Anatolian Jewellery in the Jewellery Sector and Production Problems." European Journal of Economics and Business Studies 5, no. 1 (August 30, 2016): 113. http://dx.doi.org/10.26417/ejes.v5i1.p113-122.
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Traditional jewelry is a symbol of Anatolian culture. Anatolia has a rich identity in respect to handcrafts and nearly all of Anatolia districts have its own identical handicrafts. Jewelry is among this handicrafts that is produced only in special area and symbolizes its own region. Unfortunately, technological achievements adversely effects the traditional jewelry production such as, reducing the demands of them and decreased interest. The jewelry industry prefers the mass production techniques and this leads to destruction of traditional jewelry preferences. Nowadays, traditional jewelry is about to be destroyed. In this research, the position of traditional Anatolian jewelry in the jewelry sector will be investigated. In this context, firstly the Anatolian’s traditional jewelry will be introduced then, the position of traditional jewelry will be researched and the results will be explained, and suggestions for solutions will be presented.
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Rumaladewi, Ni Kadek Bintang Indah, and I. Nyoman Taun. "PENGARUH KUALITAS PRODUK, BRAND IMAGE, DAN PENGGUNAAN JASA ENDORSEMENT TERHADAP KEPUTUSAN PEMBELIAN PERHIASAN PERAK DI SUNAKA JEWELRY CELUK, SUKAWATI, GIANYAR." Jurnal Ilmiah Manajemen dan Bisnis 4, no. 1 (June 14, 2019): 103. http://dx.doi.org/10.38043/jimb.v4i1.2156.
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This study aims to determine: (1) the effect of product quality on purchase decision of silver jewelry in Sunaka Jewelry, (2) the effect of brand image on purchase decision of silver jewelry in Sunaka Jewelry, (3) the effect of endorsement usage on purchase decision of silver jewelry in Sunaka Jewelry, and (4) the effect of product quality, brand image, and endorsement usage on purchase decision of silver jewelry in Sunaka Jewelry. This research is a survey research. Population in this research is all customer of Sunaka Jewelry Celuk, Sukawati, Gianyar which purchased silver jewelry from Sunaka Jewelry. The sampling technique used accidental sampling with the number of samples counted 75 peoples. Data collection technique using questionnaires that have been tested for validity and reliability. Data nalysis technique used is multiple regression.The results of the research shows that: (1) product quality had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,006 < 0,050 and regression coefficient = 0,206), (2) brand image had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,028 < 0,050 and regression coefficient = 0,250), (3) endorsement usage had positive effect on purchase decision on Sunaka Jewelry (showed by the significance value of 0,015 < 0,050 and regression coefficient = 0,231), and (4) the product quality, brand image, and endorsement usage influence simultaneaously to purchase decision on Sunaka Jewelry (showed by F count = 23,753 and significance value of 0,000 < 0,050).Keywords: product quality, brand image, endorsement usage, purchase decision
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KOLOSNICHENKO, М. V., T. F. KROTOVA, T. V. REMENEVA, І. A. PRYKHODKO-KONONENKO, and A. R. CHETVERIK. "SALVADOR DALI’S ARTISTIC EXPERIMENTS IN THE ART OF JEWELRY AND THEIR IMPACT ON CONTEMPORARY DESIGN." Art and Design, no. 4 (February 10, 2022): 9–19. http://dx.doi.org/10.30857/2617-0272.2021.4.1.
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The purpose: to analyze the specifics of Dali's creative search for figurative solutions in jewelry; to present a project of jewelry based on the works of S. Dali.
Methodology. Historical-typological, analytical, comparative, iconographic methods were applied; during the analysis of Dali’s jewelry works, the methods of formal and figurative-stylistic analysis were applied.
Results. The specifics of S. Dali's heritage in jewelry art and its influence on the works of modern masters are analyzed. The specifics of the transformation of a picturesque image into a jewelry work of S. Dali are considered, their material and symbolic features are given. The modern jewelry created on the motives of S. Dali's creativity is considered. The jewelry project "Perfect Speed of Dali" is presented.
Scientific novelty. The connection between S. Dali’s works of art and jewelry is revealed and analyzed, the sequence of the artist’s creative search is investigated. The peculiarities of the influence of S. Dali's jewelry projects on the production of modern jewelry are established. Modern jewelry works based on the works of S. Dali have been put into scientific circulation.
Practical significance. The materials of this study can be reflected in lecture courses in the disciplines of "Art and Material Culture", "History of Jewelry", and can be a practical basis for the jewelry production.
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Enkhtuvshin, Enkhzaya, and Chae-Deug Yi. "Asia Jewelry Enterprises Using the Structural Equation Model and the Implication on the Korea Jewelry Industry." Korea International Trade Research Institute 18, no. 6 (December 31, 2022): 93–118. http://dx.doi.org/10.16980/jitc.18.6.202212.93.
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Purpose – The purpose of this paper is investigating on how sustainable development goals can be reflected on the jewelry industry and what are the key factors to better the jewelry enterprises that influences on maintaining the sustainability of the sector. Design/Methodology/Approach – Based on the Structural Equation Modelling (SEM), This research made empirical analysis on whether designated internal and external factors influence to the performance of Jewelry Enterprises and how these factors interact or influence on one another within the Jewelry Industry Ecosystem. Findings – This paper studies the performance of jewelry enterprises of Asia Jewelry Industries and its implications on Korea Jewelry Industry, positive or the negative impacts of internal and external factors, developing according to the Jewelry Industry Ecosystem. Research Implications – In the management of this paper, this study has significance in developing the Korea Jewelry Industry, further improving Asia jewelry industries that has less damage to the surroundings by unifying in shared vision focusing on “Sustainable Development Goals”.
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Chabrol, Marie, and Charline Coupeau. "Kreuter (1842-1987), fabricant méconnu." Gemmes 2 (September 21, 2023): 10–20. http://dx.doi.org/10.63000/g63qec95cn.
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The city of Hanau in Germany was one of the most important jewelry production centers of Europe between the end of the 19th century and the beginning of the 20th. It’s in this city that the Kreuter workshop was based, which ensured most of qualitative productions of many jewelers who supplied the European royal houses. Among them, Robert Koch (1879 – 1987), often described as the « German Cartier ». The general ignorance of this workshop and its archives shows that many pieces are often misidentified on the market because they are automatically attributed to its main retailer. By introducing this workshop, it is more broadly the role of the archive in the jewelry history that this article explores.
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Volodymyr, INDUTNYI, MEREZHKO Nina, and PIRKOVICH Kateryna. "COMMODITY EXPERTISE OF JEWELRY." INTERNATIONAL SCIENTIFIC-PRACTICAL JOURNAL "COMMODITIES AND MARKETS" 39, no. 3 (September 20, 2021): 60–74. http://dx.doi.org/10.31617/tr.knute.2021(39)04.
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Background. Jewelry is one of the components of material, ritual, cultural and historical heritage of mankind.Modern jewelry has acquired significant differences from those created in the past. Changes in the field of production and trade in jewelry explain the relevance of the analysis of cost indicators in the modern jewelry market and the feasibility of improving commodity expertise. The aim of the workis to analyze the cost indicators on the jewelry market in Ukraine, to conduct their commodity expertiseand to develop an algorithm for cost forecastingof jewelry in accordance with their quality characteristics. Materials and methods. A database of initial data on jewelry present on the market was created in the following range: weddingrings, rings, pendants and earrings. All named products weigh up to 10 grams and are made of 925 silver and 585 gold. Most of them are decorated with precious and semi-precious stones or inserts that imitate them. To develop an algorithm for cost forecastingof jewelry, a mathematical model was built and the quality of the approximation was calculated according to K. Pearson. Results. The results of the analysis of cost indicators in the modern jewelry market are described, and also recommendations for performance of tasks of their commodity expertise are given. Three commodity groups of jewelry have been identified and an algorithm for predicting their value has been developed.A protocol for assessing the quality of jewelry and standards for visual comparison operations are presented. An approach to determining the estimated value of exclusive jewelry is proposed. Conclusion. The general regulations of work of commodity expertise of jewelry are established. Creating a mathematical model for cost forecastingof jewelry requires the compilation of a database of initial data of representative samples presented on the market. For each cost interval it is necessary to build a regression mathematical model that will ensure maximum consideration of pricing factors and the authenticity and reproducibility of the results of commodity research. Commodity expertiseof the cheapest jewelry can be carried out only on the basis of the value of the used precious metals. Medium-value jewelry requires market analysis and mathematical forecasting. Jewelry with precious stones of natural origin also requires analysis of databases on precious stones. More expensive jewelry (more than UAH 300,000 per sample) can be valued only at the value of the gemstone. Keywords: commodity expertise, jewelry, cost forecasting, protocol, evaluation criterion.
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Yuan, Jun Ping, De Dong Chen, and Peng Wan. "Prevalence of Allergy and Complications Caused by Jewelry among Higher Vocational College Students." Advanced Materials Research 937 (May 2014): 286–90. http://dx.doi.org/10.4028/www.scientific.net/amr.937.286.
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Allergy and complications caused by jewelry are prevalent among overseas college students, while there has no relevant study in China. To survey the prevalence of this problem among college students, questionnaire was designed and students randomly from three higher vocational colleges in south China joined this survey. The results show that 32.3% students have ever worn jewelry. The proportion of wearing jewelry is different for various specialties, which shows business students rank the highest, Arts and science &engineering students follow successively, while medical students keep in the last. Necklace, ring and bracelet are the main jewelry types worn by students. 1.3% boys and 10.2% girls have ever worn piercing jewelry, and ear is the dominant piercing site, which accounts for 93.1% overall. Among those students who have ever worn metal jewelry, 3.6% boys and 13.7% girls have ever suffered jewelry allergy or complications, which is mainly caused by costume jewelry and piercing jewelry.
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Irawati, Rahmita An’nur, and Dedy Ismail. "PERANCANGAN PERHIASAN BERBAHAN KUNINGAN UNTUK PENGANTIN WANITA DENGAN INSPIRASI BUNGA KAMPERFULI." Jurnal Kreatif : Desain Produk Industri dan Arsitektur 10, no. 1 (March 21, 2022): 7. http://dx.doi.org/10.46964/jkdpia.v10i1.208.
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This paper discusses the design of jewelry for the bride, to answer the needs due to the shift in cultural values in the way of dressing (outfit) at the wedding. In contrast to the traditional wedding attire, which had a 'grip' and a large number of objects, nowadays the procession and wedding accessories are carried out more simply, among others, by reducing the number or type of accessories, leaving some such as the main clothes, hair and facial makeup, and some jewelry. This change can be seen from the tendency of users to modify wedding clothes according to their character without referring to customs or cultural 'standards'. The design objective set out in this paper is to produce a jewelery design that facilitates the bride and groom against the above phenomena. This design process begins with identifying, analyzing, concluding, and then solving problems using a design by doing approach. To get the quality of the form used a visual approach by using the inspiration of Kamperfuli flowers. Kamperfuli flowers are an inspiration because they have a meaning that is in line with marriage. At the end of the process, a design work is obtained in the form of a prototype of a jewelry set that offers a novelty shape based on the stylized Kamperfuli flower.
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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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Триколенко, Софія Тарасівна. "Краса стихій світобудови – необроблені форми мінералів у ювелірному мистецтві." Theory and practice of design, no. 23 (December 22, 2021): 115–24. http://dx.doi.org/10.18372/2415-8151.23.16276.
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Однією із найцікавіших течій сучасного ювелірного мистецтва є використання у виробах мінералів природних форм – необроблених взагалі або частково оброблених. Здебільшого до таких прийомів звертаються самостійні митці та невеликі ювелірні майстерні, натомість масове виробництво прикрас базується на усталених тенденціях однаково огранених каменів. Звернення до мінералів природних форм демонструє зміну світогляду митців – від прагнення максимально прилаштувати природний матеріал під свої потреби до уміння знайти художню концепцію виробу, яка б максимально розкривала красу матеріалів без штучного втручання у їх форму та фактуру. У даній статті проаналізовано принципи використання мінералів природних форм у ювелірних виробах.Спалах захоплення необробленими мінералами миттєво охоплює митців-ювелірів всього світу, і на територіях різних країн одночасно виникають колекції ювелірних прикрас, у яких акцентується краса природньої форми. Такі візуальні концепції втілюють потужний змістовний пласт: ідеї екологізації, усвідомлення потужності стихій та, водночас, беззахисності природи, набувають все більшого поширення у цивілізованому світі. Варварське споживання природних ресурсів повільно поступається місцем відновлюванню. Висвітлено таку проблематику, як виховна функція ювелірного мистецтва. Мистецтво виготовлення прикрас, як одне із найбільш поширених й найбільш затребуваних у всьому світі, увібрало у себе своєрідну виховну функцію — демонстрацію краси природи у її дикому, неприборканому стані. Варто зазначити, що змінилися також принципи виготовлення оправ та оновився арсенал супровідних матеріалів. У країнах Західної Європи та Америки митці часто використовують для оправ некоштовні метали, шкіру, дерево, акрилові смоли. Великою популярністю користуються гальванічні прикраси. Набуває поширення напрям виготовлення оправ із бісеру. На території України поступ залучення мінералів природних форм та некоштовних матеріалів у якості оправ розпочався із запізненням, проте нині вона набула надзвичайного поширення. Ця стаття пропонує до розгляду вироби вітчизняних митців-ювелірів, які обирають для своєї творчості необроблені, або частково оброблені мінерали. Наводяться приклади робіт таких ювелірів, як Андрій Комаров та майстерня творчості «ВоображаріумМ». Варто зазначити, що стаття є продовженням циклу статей, присвячених тенденції використання мінералів необроблених форм у ювелірному мистецтві. One of the most interesting currents of modern jewelry art is the use of natural forms in mineral products - unprocessed in general or partially processed. For the most part, such techniques are used by independent artists and small jewelry workshops, while mass production of jewelry is based on established trends of equally faceted stones. The appeal to minerals of natural forms demonstrates a change in the worldview of artists - from the desire to adapt the natural material to their needs to the ability to find an artistic concept of the product that would reveal the beauty of materials without artificial interference with their shape and texture. This article analyzes the principles of using minerals of natural forms in jewelry. The outbreak of passion for raw minerals instantly covers artists-jewelers around the world, and in different countries at the same time there are collections of jewelry, which emphasizes the beauty of natural form. Such visual concepts embody a powerful meaningful layer: the ideas of greening, awareness of the power of the elements and, at the same time, the insecurity of nature, are becoming more widespread in the civilized world. Barbaric consumption of natural resources is slowly giving way to recovery. Issues such as the educational function of jewelry art are covered. The art of making jewelry, as one of the most common and most in demand around the world, has absorbed a kind of educational function — a demonstration of the beauty of nature in its wild, untamed state. It is worth noting that the principles of making frames have also changed and the arsenal of accompanying materials has been updated. In Western Europe and America, artists often use base metals, leather, wood, and acrylic resins for frames. Galvanic jewelry is very popular. The direction of making bead frames is becoming widespread. In Ukraine, the progress of attracting minerals of natural forms and inexpensive materials as frames began belatedly, but now it has become extremely widespread. This article offers to consider the products of domestic artists-jewelers who choose for their work unprocessed or partially processed minerals. Examples of works by such jewelers as Andriy Komarov and the VoobrazhariumM art workshop are given. It is worth noting that the article is a continuation of a series of articles on the trend of using minerals of untreated forms in jewelry.