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In this richly illustrated book, art historian and design expert Marjan Unger tells the story of jewellery. She places jewels in the context of the people who wore them, their culture and their time, and interlaces surprising perspectives from art history, fashion theory and anthropology with the cultural, historical and social values and material characteristics of the jewellery. Unger advocates a universal approach to this cultural heritage that is being produced and worn all over the world. She uses the rich collection of the Rijksmuseum Amsterdam to guide and illustrate her comprehensive and gripping tale. Every piece of jewellery shines in its own way! Hence, every jewel is portrayed at its true size (sometimes with enlarged details) to show the intimacy of the jewel and its proportion to the human body. With this book, designer Irma Boom has set an iconic standard for jewellery publications. The book is a feast for the eye and an important reference work for anyone interested in jewellery, fashion and design.

Abstract
This article focuses on jewellery made by the Kuchi people, which is still one of the marginalized topics. It presents the best-known types of Kuchi jewellery, the way it is worn, the most commonly used materials for its production and the most utilized jewellery techniques. With respect to the date of origin, the focus is mainly on the second half of the 20th century, but also on the present, with regard to the growing trade in these types of jewellery. For a more comprehensive illustration of design, material and jewellery techniques, a collection of jewellery from the 20th century and the present from the collections of the Náprstek Museum in Prague and a private collection was examined. The X-ray fluorescence (XRF) spectroscopy was used to find out the elemental composition of the materials used in the making of the jewellery.

RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, ...

"Traditional Indian Jewellery: Beautiful People is a vast and detailed publication covering the importance of ritual adornment, and the popular design motifs featured in traditional Indian jewellery. Jewellery plays an important part in the everyday lives, important moments, festivals and religious aspects of Indian culture. It is not only girls and women who wear jewellery, but also boys, men, temple statues and even animals. The book excels in its detailed descriptions, which accompany the sumptuous array of images. We discover why enamel is used in the north of India, and how ancestral craftsmen pass their skills from generation to generation, especially the process and tradition of enamelling. The book covers in detail the meaning of the use of flowers and birds in Hindu-influenced jewellery, looking through the eyes of seventeenth-century European travellers who visited the rich Mogul courts. This publication is the result of thirty-five years of research - travelling, studying, and talking to many people across the entire subcontinent of India, as well as having had unprecedented access to goldsmiths and enamellers; being shown techniques known only to one family, which have been transferred from generation to generation; and being granted access to beautiful and never before seen Royal collections"--Provided by publisher

This article is dedicated to students' creativity in precious metal working during the institute training period. The most effective methods and processes of Turkic peoples' traditional technologies of precious metal working are given here. The developed conception, on the base of ethno-technical creative work, introduced in the process of education, contributes the excellence of skill achievements in the jewel making.

Rouse Hill House is an early colonial mansion on the outskirts of Sydney built by Richard and Elizabeth Rouse, free settlers from England, who arrived in Sydney in 1801. Six generations of the Rouse family lived in the house between the 1820s and the 1970s, when it was bought by the New South Wales Government and turned into a museum. Hidden in the drawers of what once was the servants' quarters is a collection comprising over 150 pieces of mostly costume jewellery. Through a detailed study of the Rouse jewellery collection, this research project explores the importance of social status for early free settlers in Australia. Such a collection is rare indeed in Australia. Although the jewellery was itemised when the house was sold, this is the first time that the collection has been discussed in its entirety. This thesis reveals the needs, pleasures and aspirations of a colonial Australian family, seen through the eyes of their jewellery, supported by literature from various sources including art, design, archaeology and sociology. In addition, the collection illustrates the history of jewellery design in middle-class Australia, including the adherence to British norms in dress and fashion, which became apparent in the early 19th century. Selected items, which illustrate motifs from periods such as Egyptian and Greek revival and Art Nouveau are discussed in detail. Techniques, such as pique, Berlin ironwork and the use of jet illustrate that Australian women were keen to adopt styles from their home country. The collection also shows the emerging Australian identity, which is evident in the jewellery belonging to the Rouses from the beginning of the 20th century. The theory of jewellery put forward by Dutch collector, Marjan Unger (2019), provides the framework for this research project, allowing classification of significant items in the collection. Portraits, photographs and receipts add to the provenance of the collection. The aim of this thesis is to 'shine a light' on a neglected part of Australian history, ...