Jewellery (also spelled jewelry, see spelling differences) is a personal ornament, such as a necklace, ring, or bracelet, made from jewels, precious metals or other substance.
The word jewellery is derived from the word jewel, which was anglicised from the Old French "jouel" in around the 13th century.
Although in earlier times jewellery was created for more practical uses, such as wealth storage and pinning clothes together, in recent times it has been used almost exclusively for decoration. The first pieces of jewellery were made from natural materials, such as bone, animal teeth, shell, wood, and carved stone. Jewellery was often made for people of high importance to show their status and, in many cases, they were buried with it.
Jewellery is made out of almost every material known and has been made to adorn nearly every body part, from hairpins to toe rings and many more types of jewellery. While high-quality is made with gemstones and precious metals, there ia also a growing demand for Art jewelry where design and creativity is prized above material value. In addition there is the less-costly costume jewellery is made from less-valuable materials and is mass-produced. New variations include wire sculpture (wrap) jewellery, using anything from base metal wire with rock tumbled stone to precious metals and precious gemstones.
Form and function
In creating jewellery, gemstones, coins, or other precious items are often used, and they are typically set into precious metals. Alloys of nearly every metal known have been encountered in jewellery -- bronze, for example, was common in Roman times. Modern jewellery usually includes gold, white gold, platinum, palladium, or silver. Most American and European gold jewellery is made of an alloy of gold, the purity of which is stated in karats, indicated by a number followed by the letter K. American gold jewellery must be of at least 10K purity (41.7% pure gold), (though in England the number is 9K (37.5% pure gold) and is typically found up to 18K (75% pure gold). Higher purity levels are less common with alloys at 22 K (91.6% pure gold), and 24 K (99.9% pure gold) being considered too soft for jewellery use in America and Europe. These high purity alloys, however, are widely used across Asia, the Middle East, and Africa.
Materials and methods
Main article: Diamond Diamonds
Main article: Gemstone Other gemstones
For platinum, gold, and silver jewellery there are many different techniques to create different finishes. The most common however are: high-polish, satin/matte, brushed, and hammered. High-polished jewellery is by far the most common and gives the metal the highly-reflective and shiny look. Satin, or matte finish reduces the shine and reflection of the jewellery and is commonly used to accentuate gemstones such as diamonds. Brushed finishes give the jewellery a textured look, and are created by brushing a material (similar to sandpaper) against the metal, leaving 'brush strokes'. Hammered finishes are typically created by using a soft, rounded hammer and hammering the jewellery to give it a wavy texture.
Metal finishes
Jewellery has been used to denote status. In ancient Rome, for instance, only certain ranks could wear rings;
Impact on society
The history of jewellery is a long one, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.
Early history
Africa
The first signs of established jewellery making in Ancient Egypt was around 3,000-5,000 years ago.
Egypt
Europe and the Middle East
By approximately 4,000 years ago, jewellery-making had become a significant craft in the cities of Sumer and Akkad. The most significant archaeological evidence comes from the Royal Cemetery of Ur, where hundreds of burials dating 2900–2300 BC were unearthed; tombs such as that of Puabi contained a multitude of artifacts in gold, silver, and semi-precious stones, such as lapis lazuli crowns embellished with gold figurines, close-fitting collar necklaces, and jewel-headed pins. In Assyria, men and women both wore extensive amounts of jewellery, including amulets, ankle bracelets, heavy multistrand necklaces, and cylinder seals.
Mesopotamia
The Greeks started using gold and gems in jewellery in 1,400 BC, although beads shaped as shells and animals were produced widely in earlier times. By 300 BC, the Greeks had mastered making coloured jewellery and using amethysts, pearl and emeralds. Also, the first signs of cameos appeared, with the Greeks creating them from Indian Sardonyx, a striped brown pink and cream agate stone. Greek jewellery was often simpler than in other cultures, with simple designs and workmanship. However, as time progressed the designs grew in complexity different materials were soon utilized.
Jewellery in Greece was hardly worn and was mostly used for public appearances or on special occasions. It was frequently given as a gift and was predominantly worn by woman to show their wealth, social status and beauty. The jewellery was often supposed to give the wearer protection from the "Evil Eye" or endowed the owner with supernatural powers, while others had a religious symbolism. Older pieces of jewellery that have been found were dedicated to the Gods. The largest production of jewellery in these times came from Northern Greece and Macedon. However, although much of the jewellery in Greece was made of gold and silver with ivory and gems, bronze and clay copies were made also.
Jewellery makers in Ancient Greece were largely anonymous. They worked the types of jewellery into two different styles of pieces; cast pieces and pieces hammered out of sheet metal. Fewer pieces of cast jewellery have been recovered; it was made by casting the metal onto two stone or clay moulds. Then the two halves were joined together and wax and then molten metal, was placed in the centre. This technique had been in practised since the late Bronze Age. The more common form of jewellery was the hammered sheet type. Sheets of metal would be hammered to the right thickness & then soldered together. The inside of the two sheets would be filled with wax or another liquid to preserve the metal work. Different techniques, such as using a stamp or engraving, were then used to create motifs on the jewellery. Jewels may then be added to hollows or glass poured into special cavities on the surface.
The Greeks took much of their designs from outer origins, such as Asia when Alexander the Great conquered part of it. In earlier designs, other European influences can also be detected. When Roman rule came to Greece, no change in jewellery designs was detected. However, by 27 BC, Greek designs were heavily influenced by the Roman culture. That is not to say that indigenous design did not thrive; numerous polychrome butterfly pendants on silver foxtail chains, dating from the 1st century, have been found near Olbia, with only one example ever found anywhere else.
Greece
Although jewellery work was abundantly diverse in earlier times, especially among the barbarian tribes such as the Celts, when the Romans conquered most of Europe, jewellery was changed as smaller factions developed the Roman designs. The most common artefact of early Rome was the brooch, which was used to secure clothing together. The Romans used a diverse range of materials for their jewellery from their extensive resources across the continent. Although they used gold, they sometimes used bronze or bone and in earlier times, glass beads & pearl. As early as 2,000 years ago, they imported Sri Lankan sapphires and Indian diamonds and used emeralds and amber in their jewellery. In Roman-ruled England, fossilized wood called jet from Northern England was often carved into pieces of jewellery. The early Italians worked in crude gold and created clasps, necklaces, earrings and bracelets. They also produced larger pendants which could be filled with perfume.
Like the Greeks, often the purpose of Roman jewellery was to ward off the "Evil Eye" given by other people. Although woman wore a vast array of jewellery, men often only wore a finger ring. Although they were expected to wear at least one ring, some Roman men wore a ring on every finger, while others wore none. Roman men and women wore rings with a carved stone on it that was used with wax to seal documents, an act that continued into medieval times when kings and noblemen used the same method. After the fall of the Roman Empire, the jewellery designs were absorbed by neighbouring countries and tribes.
Rome
Post-Roman Europe continued to develop jewellery making skills; the Celts and Merovingians in particular are noted for their jewellery, which in terms of quality matched or exceeded that of Byzantium. Clothing fasteners, amulets, and to a lesser extent signet rings are the most common artefacts known to us; a particularly striking celtic example is the Tara Brooch. The Torc was common throughout Europe as a symbol of status and power. By the 8th century, jewelled weaponry was common for men, while other jewellery (with the exception of signet rings) seems to become the domain of women. Grave goods found in a 6th-7th century burial near Chalon-sur-Saône are illustrative; the young girl was buried with: 2 silver fibulae, a necklace (with coins), bracelet, gold earings, a pair of hair-pins, comb, and buckle.
Middle Ages
The Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade lead to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. A fascinating example of this is the Cheapside Hoard, the stock of a jeweller hidden in London England during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghani lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings. Notable among merchants of the period was Jean-Baptiste Tavernier, who in the 1660s brought the precursor stone of the Hope Diamond to France.
When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleon's rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch and a diamond necklace. Both of Napoleon's wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought after. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers; a practice which continues to this day.
Renaissance
Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public's fascination with the treasures being discovered through the birth of modern archaeology, and the fascination with Medieval and Renaissance art. Changing social conditions and the onset of the industrial revolution also lead to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes, lead to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work; one such artist was the French goldsmith Françoise Désire Fromment Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert; and allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one. Perhaps the grand finale – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith's art.
Romanticism
In the 1890s, jewellers began to explore the potentials of the growing Art Nouveau style. Very closely related were the German Jugendstil, British (and to some extent American) Arts and Crafts movement. René Lalique, working for the Paris shop of Samuel Bing, was recognized by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstaette provided perhaps the most significant German input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself; Lalique's famous dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognizable design feature. The end of World War One once again changed public attitudes; and a more sober style was set to take centre-stage.
Art Nouveau
Growing political tensions, the aftereffects of the war, and a general reaction against the perceived decadence of the turn of the century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of "no barriers between artists and craftsmen" lead to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminum were first used in jewellery, and of note are the chromed pendants of Russian born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself; in the west, this period saw the reinvention of granulation by the German Elizabeth Treskow (although development of the re-invention has continued into the 1990s)..
Art Deco
In the Jewish culture jewellery have played an important role since biblical times. We could see many references in the bible to the custom of wearing jewellery both as a decoration and as a symbol. In recent times, Jewish jewellery are wildly spread and are worn to show one's affiliation with the religion and as talismans and amulets.
The Star of David ("Magen David" in Hebrew) is the symbol most recognized with Judaism. It was used in land of Israel in Roman times, but it seems to have become associated with Judaism in particular only in later centuries. In the 17th century It became a popular practice to put Star of David on the outside of synagogues, to identify them as Jewish houses of worship; however, it is not clear why this symbol was selected for this. Today the Star of David is a universally recognized symbol of Jews. It appears on the flag of the state of Israel, and the Israeli equivalent of the Red Cross is known as "the Magen David Adom" ("Adom" is red in Hebrew). Indeed, one of the most common symbols in Jewish jewellery is the Star of David, equivalent to wearing a cross by Christians.
Another popular symbol used in Jewish jewellery is the Hamsa, also known as the "Hamesh hand". The Hamsa appears often in a stylized form, as a hand with three fingers raised, and sometimes with two thumbs arranged symmetrically. Its five fingers are said to symbolize the five books if the Torah. The symbol is used for protection and as a mean to ward of the Evil eye in amulets and charms and can also be found in various places such as home entrances and cars. It is also common to place other symbols in the middle of the Hamsa that are believed to help against the evil eye such as fish, eyes and the Star of David. The colour blue, or more specifically light blue, is also considered protective against the evil eye and we could see many Hamsas in that colour or with embedded gemstones in different shades of blue. Hamsas are often decorated with Jewish prayers of a protective fashion such as the Sh'ma Prayer, the Birkat HaBayit (Blessing for the Home), or the Tefilat HaDerech (Traveler's Prayer).
The Chai symbol, popularly worn on necklaces, is simply the Hebrew word "Chai" (literally means 'living'), consisting of the two Hebrew letters Chet and Yod. This word refers to the Living G-d. According to the gematrian system, the letters of Chai add up to 18. There have been many mystical numerological speculations about this fact and the custom to give donations and monetary gifts in multiples of 18 as a blessing for long life is very common in Jewish circles.
Other motives commonly found in Jewish jewellery are symbols from the Kabbalah (also known as kabala, cabala) such as the Merkaba, a three-dimensional Star of David, and the Tree of life. Many pieces of jewellery are decorated with parts or initials of known Jewish prayers and with 3-letters combinations, believed to represent different names of the Jewish God.
Jewish jewellery
Jewellery making in Asia started in China 5,000 years ago and in the Indus Valley region later on. With roots set deep in religious designs, Asian jewellery was very decorative and used most often in ceremonies.
Asia
The earliest culture to begin making jewellery in Asia was the Chinese around 5,000 years ago. Chinese jewellery designs were very religion-orientated and contained many Buddhist symbols, a fact which remains to this day.
The Chinese used silver in their jewellery more often than gold, and decorated it with their favourite colour, blue. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, Chinese preferred jade over any other stone. They fashioned it using diamonds, as indicated in finds from areas in the country. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability and beauty.
China
The Indian sub-continent has the longest continuous legacy of jewellery making anywhere. While Western traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5000 years.
India
Jewellery played a major role in the fate of the Americas when the Spanish established an empire to seize South American gold. Jewellery making developed in the Americas 5,000 years ago in Central and South America. Large amounts of gold was easily accessible, and the Aztecs and Mayans created numerous works in the metal. Among the Aztecs, only nobility wore gold jewellery, as it showed their rank, power and wealth. Gold jewellery was most common in the Aztec Empire and was often decorated with feathers from birds. The main purpose of Aztec jewellery was to draw attention, with richer and more powerful Aztecs wearing brighter, more expensive jewellery and clothes. Although gold was the most common and popular material used in Aztec jewellery, silver was also readily available throughout the American empires. In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods. Priests also used gem encrusted daggers to perform animal and human sacrifices.
Although initially of interest either as a curiosity or a source of raw material, jewellery designs from the Americas has come to play a significant role in modern jewellery (see below).
Americas
For platinum, gold, and silver jewellery there are many different techniques to create different finishes. The most common however are: high-polish, satin/matte, brushed, and hammered. High-polished jewellery is by far the most common and gives the metal the highly-reflective and shiny look. Satin, or matte finish reduces the shine and reflection of the jewellery and is commonly used to accentuate gemstones such as diamonds. Brushed finishes give the jewellery a textured look, and are created by brushing a material (similar to sandpaper) against the metal, leaving 'brush strokes'. Hammered finishes are typically created by using a soft, rounded hammer and hammering the jewellery to give it a wavy texture.
Metal finishes
Jewellery has been used to denote status. In ancient Rome, for instance, only certain ranks could wear rings;
Impact on society
The history of jewellery is a long one, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.
Early history
AfricaThe first signs of established jewellery making in Ancient Egypt was around 3,000-5,000 years ago.
Egypt
Europe and the Middle East
By approximately 4,000 years ago, jewellery-making had become a significant craft in the cities of Sumer and Akkad. The most significant archaeological evidence comes from the Royal Cemetery of Ur, where hundreds of burials dating 2900–2300 BC were unearthed; tombs such as that of Puabi contained a multitude of artifacts in gold, silver, and semi-precious stones, such as lapis lazuli crowns embellished with gold figurines, close-fitting collar necklaces, and jewel-headed pins. In Assyria, men and women both wore extensive amounts of jewellery, including amulets, ankle bracelets, heavy multistrand necklaces, and cylinder seals.
Mesopotamia
The Greeks started using gold and gems in jewellery in 1,400 BC, although beads shaped as shells and animals were produced widely in earlier times. By 300 BC, the Greeks had mastered making coloured jewellery and using amethysts, pearl and emeralds. Also, the first signs of cameos appeared, with the Greeks creating them from Indian Sardonyx, a striped brown pink and cream agate stone. Greek jewellery was often simpler than in other cultures, with simple designs and workmanship. However, as time progressed the designs grew in complexity different materials were soon utilized.
Jewellery in Greece was hardly worn and was mostly used for public appearances or on special occasions. It was frequently given as a gift and was predominantly worn by woman to show their wealth, social status and beauty. The jewellery was often supposed to give the wearer protection from the "Evil Eye" or endowed the owner with supernatural powers, while others had a religious symbolism. Older pieces of jewellery that have been found were dedicated to the Gods. The largest production of jewellery in these times came from Northern Greece and Macedon. However, although much of the jewellery in Greece was made of gold and silver with ivory and gems, bronze and clay copies were made also.
Jewellery makers in Ancient Greece were largely anonymous. They worked the types of jewellery into two different styles of pieces; cast pieces and pieces hammered out of sheet metal. Fewer pieces of cast jewellery have been recovered; it was made by casting the metal onto two stone or clay moulds. Then the two halves were joined together and wax and then molten metal, was placed in the centre. This technique had been in practised since the late Bronze Age. The more common form of jewellery was the hammered sheet type. Sheets of metal would be hammered to the right thickness & then soldered together. The inside of the two sheets would be filled with wax or another liquid to preserve the metal work. Different techniques, such as using a stamp or engraving, were then used to create motifs on the jewellery. Jewels may then be added to hollows or glass poured into special cavities on the surface.
The Greeks took much of their designs from outer origins, such as Asia when Alexander the Great conquered part of it. In earlier designs, other European influences can also be detected. When Roman rule came to Greece, no change in jewellery designs was detected. However, by 27 BC, Greek designs were heavily influenced by the Roman culture. That is not to say that indigenous design did not thrive; numerous polychrome butterfly pendants on silver foxtail chains, dating from the 1st century, have been found near Olbia, with only one example ever found anywhere else.
Greece
Although jewellery work was abundantly diverse in earlier times, especially among the barbarian tribes such as the Celts, when the Romans conquered most of Europe, jewellery was changed as smaller factions developed the Roman designs. The most common artefact of early Rome was the brooch, which was used to secure clothing together. The Romans used a diverse range of materials for their jewellery from their extensive resources across the continent. Although they used gold, they sometimes used bronze or bone and in earlier times, glass beads & pearl. As early as 2,000 years ago, they imported Sri Lankan sapphires and Indian diamonds and used emeralds and amber in their jewellery. In Roman-ruled England, fossilized wood called jet from Northern England was often carved into pieces of jewellery. The early Italians worked in crude gold and created clasps, necklaces, earrings and bracelets. They also produced larger pendants which could be filled with perfume.
Like the Greeks, often the purpose of Roman jewellery was to ward off the "Evil Eye" given by other people. Although woman wore a vast array of jewellery, men often only wore a finger ring. Although they were expected to wear at least one ring, some Roman men wore a ring on every finger, while others wore none. Roman men and women wore rings with a carved stone on it that was used with wax to seal documents, an act that continued into medieval times when kings and noblemen used the same method. After the fall of the Roman Empire, the jewellery designs were absorbed by neighbouring countries and tribes.
Rome
Post-Roman Europe continued to develop jewellery making skills; the Celts and Merovingians in particular are noted for their jewellery, which in terms of quality matched or exceeded that of Byzantium. Clothing fasteners, amulets, and to a lesser extent signet rings are the most common artefacts known to us; a particularly striking celtic example is the Tara Brooch. The Torc was common throughout Europe as a symbol of status and power. By the 8th century, jewelled weaponry was common for men, while other jewellery (with the exception of signet rings) seems to become the domain of women. Grave goods found in a 6th-7th century burial near Chalon-sur-Saône are illustrative; the young girl was buried with: 2 silver fibulae, a necklace (with coins), bracelet, gold earings, a pair of hair-pins, comb, and buckle.
Middle Ages
The Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade lead to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. A fascinating example of this is the Cheapside Hoard, the stock of a jeweller hidden in London England during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghani lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings. Notable among merchants of the period was Jean-Baptiste Tavernier, who in the 1660s brought the precursor stone of the Hope Diamond to France.
When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleon's rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch and a diamond necklace. Both of Napoleon's wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought after. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers; a practice which continues to this day.
Renaissance
Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public's fascination with the treasures being discovered through the birth of modern archaeology, and the fascination with Medieval and Renaissance art. Changing social conditions and the onset of the industrial revolution also lead to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes, lead to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work; one such artist was the French goldsmith Françoise Désire Fromment Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert; and allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one. Perhaps the grand finale – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith's art.
Romanticism
In the 1890s, jewellers began to explore the potentials of the growing Art Nouveau style. Very closely related were the German Jugendstil, British (and to some extent American) Arts and Crafts movement. René Lalique, working for the Paris shop of Samuel Bing, was recognized by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstaette provided perhaps the most significant German input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself; Lalique's famous dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognizable design feature. The end of World War One once again changed public attitudes; and a more sober style was set to take centre-stage.
Art Nouveau
Growing political tensions, the aftereffects of the war, and a general reaction against the perceived decadence of the turn of the century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of "no barriers between artists and craftsmen" lead to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminum were first used in jewellery, and of note are the chromed pendants of Russian born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself; in the west, this period saw the reinvention of granulation by the German Elizabeth Treskow (although development of the re-invention has continued into the 1990s)..
Art Deco
In the Jewish culture jewellery have played an important role since biblical times. We could see many references in the bible to the custom of wearing jewellery both as a decoration and as a symbol. In recent times, Jewish jewellery are wildly spread and are worn to show one's affiliation with the religion and as talismans and amulets.
The Star of David ("Magen David" in Hebrew) is the symbol most recognized with Judaism. It was used in land of Israel in Roman times, but it seems to have become associated with Judaism in particular only in later centuries. In the 17th century It became a popular practice to put Star of David on the outside of synagogues, to identify them as Jewish houses of worship; however, it is not clear why this symbol was selected for this. Today the Star of David is a universally recognized symbol of Jews. It appears on the flag of the state of Israel, and the Israeli equivalent of the Red Cross is known as "the Magen David Adom" ("Adom" is red in Hebrew). Indeed, one of the most common symbols in Jewish jewellery is the Star of David, equivalent to wearing a cross by Christians.
Another popular symbol used in Jewish jewellery is the Hamsa, also known as the "Hamesh hand". The Hamsa appears often in a stylized form, as a hand with three fingers raised, and sometimes with two thumbs arranged symmetrically. Its five fingers are said to symbolize the five books if the Torah. The symbol is used for protection and as a mean to ward of the Evil eye in amulets and charms and can also be found in various places such as home entrances and cars. It is also common to place other symbols in the middle of the Hamsa that are believed to help against the evil eye such as fish, eyes and the Star of David. The colour blue, or more specifically light blue, is also considered protective against the evil eye and we could see many Hamsas in that colour or with embedded gemstones in different shades of blue. Hamsas are often decorated with Jewish prayers of a protective fashion such as the Sh'ma Prayer, the Birkat HaBayit (Blessing for the Home), or the Tefilat HaDerech (Traveler's Prayer).
The Chai symbol, popularly worn on necklaces, is simply the Hebrew word "Chai" (literally means 'living'), consisting of the two Hebrew letters Chet and Yod. This word refers to the Living G-d. According to the gematrian system, the letters of Chai add up to 18. There have been many mystical numerological speculations about this fact and the custom to give donations and monetary gifts in multiples of 18 as a blessing for long life is very common in Jewish circles.
Other motives commonly found in Jewish jewellery are symbols from the Kabbalah (also known as kabala, cabala) such as the Merkaba, a three-dimensional Star of David, and the Tree of life. Many pieces of jewellery are decorated with parts or initials of known Jewish prayers and with 3-letters combinations, believed to represent different names of the Jewish God.
Jewish jewellery
Jewellery making in Asia started in China 5,000 years ago and in the Indus Valley region later on. With roots set deep in religious designs, Asian jewellery was very decorative and used most often in ceremonies.
Asia
The earliest culture to begin making jewellery in Asia was the Chinese around 5,000 years ago. Chinese jewellery designs were very religion-orientated and contained many Buddhist symbols, a fact which remains to this day.
The Chinese used silver in their jewellery more often than gold, and decorated it with their favourite colour, blue. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, Chinese preferred jade over any other stone. They fashioned it using diamonds, as indicated in finds from areas in the country. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability and beauty.
China
The Indian sub-continent has the longest continuous legacy of jewellery making anywhere. While Western traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5000 years.
India
Jewellery played a major role in the fate of the Americas when the Spanish established an empire to seize South American gold. Jewellery making developed in the Americas 5,000 years ago in Central and South America. Large amounts of gold was easily accessible, and the Aztecs and Mayans created numerous works in the metal. Among the Aztecs, only nobility wore gold jewellery, as it showed their rank, power and wealth. Gold jewellery was most common in the Aztec Empire and was often decorated with feathers from birds. The main purpose of Aztec jewellery was to draw attention, with richer and more powerful Aztecs wearing brighter, more expensive jewellery and clothes. Although gold was the most common and popular material used in Aztec jewellery, silver was also readily available throughout the American empires. In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods. Priests also used gem encrusted daggers to perform animal and human sacrifices.
Although initially of interest either as a curiosity or a source of raw material, jewellery designs from the Americas has come to play a significant role in modern jewellery (see below).
AmericasMain article: Jewellery in the Pacific Pacific
Modern jewellery has never been as diverse as it is in the present day. The modern jewellery movement began in the late 1940s at the end of World War II with a renewed interest in artistic and leisurely pursuits. The movement is most noted with works by Georg Jensen and other jewellery designers who advanced the concept of wearable art. The advent of new materials, such as plastics, Precious Metal Clay (PMC) and different colouring techniques, has led to increased variety in styles. Other advances, such as the development of improved pearl harvesting by people such as Kokichi Mikimoto and the development of improved quality artificial gemstones such as moissanite (a diamond simulant), has placed jewellery within the economic grasp of a much larger segment of the population. The "jewellery as art" movement, spearheaded by artisans such as Robert Lee Morris and continued by designers such as Anoush Waddington in the UK, has kept jewellery on the leading edge of artistic design. Influence from other cultural forms is also evident; one example of this is bling-bling style jewellery, popularized by hip-hop and rap artists in the early 21st century. With the world's designs more accessible to jewellers, designs have blended in aspects from many different cultures from many different periods in time.
The late 20th century saw the blending of European design with oriental techniques such as Mokume-gane. The following are noted as the primary innovations in the decades stadling the year 2000: "Mokume-gane, hydraulic die forming, anti-clastic raising, fold-forming, reactive metal anodizing, shell forms, PMC, photoetching, and [use of] CAD/CAM."
Modern
It can be difficult to determine where jewellery leaves off and body modification takes over, because they are different sub-categories of body art. For the most part, jewellery used in body modification is plain; the use of simple silver studs, rings and earrings predominates. In fact, common jewellery pieces such as earrings, are themselves a form of body modification, as they are accommodated by creating a small hole in the human ear.
Padaung women in Myanmar place large golden rings around their necks. From as early as 5 years old, girls are introduced to their first neck ring. Over the years, more rings are added. In addition to the twenty-plus pounds of rings on her neck, a woman will also wear just as many rings on her calves too. At their extent, some necks modified like this can reach 10-15 inches long; the practice has obvious health impacts, however, and has in recent years declined from cultural norm to tourist curiosity.
Body modification
According to a recent KPMG study the largest jewellery market is the United States with a market share of 30.8%, Japan, India and China and the Middle East each with 8 - 9% and finally Italy with 5%. They predict a dramatic change in relative market shares by 2015, where the market share of the United States will have dropped to around 25%, and China and India will increase theirs to over 13%. The Middle East will remain more or less constant at 9%, whereas Europe's and Japan's marketshare will be halved and become less than 4% for Japan, and less than 3% for the biggest individual European countries: Italy and the UK.
See also
Modern jewellery has never been as diverse as it is in the present day. The modern jewellery movement began in the late 1940s at the end of World War II with a renewed interest in artistic and leisurely pursuits. The movement is most noted with works by Georg Jensen and other jewellery designers who advanced the concept of wearable art. The advent of new materials, such as plastics, Precious Metal Clay (PMC) and different colouring techniques, has led to increased variety in styles. Other advances, such as the development of improved pearl harvesting by people such as Kokichi Mikimoto and the development of improved quality artificial gemstones such as moissanite (a diamond simulant), has placed jewellery within the economic grasp of a much larger segment of the population. The "jewellery as art" movement, spearheaded by artisans such as Robert Lee Morris and continued by designers such as Anoush Waddington in the UK, has kept jewellery on the leading edge of artistic design. Influence from other cultural forms is also evident; one example of this is bling-bling style jewellery, popularized by hip-hop and rap artists in the early 21st century. With the world's designs more accessible to jewellers, designs have blended in aspects from many different cultures from many different periods in time.
The late 20th century saw the blending of European design with oriental techniques such as Mokume-gane. The following are noted as the primary innovations in the decades stadling the year 2000: "Mokume-gane, hydraulic die forming, anti-clastic raising, fold-forming, reactive metal anodizing, shell forms, PMC, photoetching, and [use of] CAD/CAM."
Modern
It can be difficult to determine where jewellery leaves off and body modification takes over, because they are different sub-categories of body art. For the most part, jewellery used in body modification is plain; the use of simple silver studs, rings and earrings predominates. In fact, common jewellery pieces such as earrings, are themselves a form of body modification, as they are accommodated by creating a small hole in the human ear.
Padaung women in Myanmar place large golden rings around their necks. From as early as 5 years old, girls are introduced to their first neck ring. Over the years, more rings are added. In addition to the twenty-plus pounds of rings on her neck, a woman will also wear just as many rings on her calves too. At their extent, some necks modified like this can reach 10-15 inches long; the practice has obvious health impacts, however, and has in recent years declined from cultural norm to tourist curiosity.
Body modification
According to a recent KPMG study the largest jewellery market is the United States with a market share of 30.8%, Japan, India and China and the Middle East each with 8 - 9% and finally Italy with 5%. They predict a dramatic change in relative market shares by 2015, where the market share of the United States will have dropped to around 25%, and China and India will increase theirs to over 13%. The Middle East will remain more or less constant at 9%, whereas Europe's and Japan's marketshare will be halved and become less than 4% for Japan, and less than 3% for the biggest individual European countries: Italy and the UK.
See also
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