|
Romanticism
 Starting in the late 18th century, Romanticism had a profound impact on the development of western jewelry. 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 jewelry. As a result, the use of industrial processes, cheaper alloys, and stone substitutes, lead to the development of paste or costume jewelry. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewelry 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 jewelry. It originated in England, where Queen Victoria was often seen wearing jet jewelry after the death of Prince Albert; and allowed the wearer to continue wearing jewelry while expressing a state of mourning at the death of a loved one.
In the United States, this period saw the founding in 1837 of Tiffany & Co. by Charles Lewis Tiffany. Tiffany's put the United States on the world map in terms of jewelry, and gained fame creating dazzling commissions for people such as the wife of Abraham Lincoln; later it would gain popular notoriety as the setting of the film Breakfast at Tiffany's. In France, Pierre Cartier founded Cartier SA in 1847, while 1884 saw the founding of Bulgari in Italy. The modern production studio had been born; a step away from the former dominance of individual craftsmen and patronage.
This period also saw the first major collaboration between East and West; collaboration in Pforzheim between German and Japanese artists lead to Shakudo plaques set into Filigree frames being created by the Stoeffler firm in 1885).[22] 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 jewelry pieces are still considered as the epitome of the goldsmith's art.
Art Nouveau
In the 1890s, jewelers 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 jeweler'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 center-stage.
^ Back To Top ^
Art Deco
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 jewelry. 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 jewelry, 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).
Jewish Jewelry
In the Jewish culture jewelry have played an important role since biblical times. We could see many references in the bible to the custom of wearing jewelry both as a decoration and as a symbol. In recent times, Jewish jewelry 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 jewelry is the Star of David, equivalent to wearing a cross by Christians.
Another popular symbol used in Jewish jewelry 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 color blue, or more specifically light blue, is also considered protective against the evil eye and we could see many Hamsas in that color 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 jewelry 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 jewelry are decorated with parts or initials of known Jewish prayers and with 3-letters combinations, believed to represent different names of the Jewish God.
^ Back To Top ^
 Asia
Jewelry 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 jewelry was very decorative and used most often in ceremonies.
China
The earliest culture to begin making jewelry in Asia was the Chinese around 5,000 years ago. Chinese jewelry designs were very religion-orientated and contained many Buddhist symbols, a fact which remains to this day.
The Chinese used silver in their jewelry more often than gold, and decorated it with their favorite color, blue. Blue kingfisher feathers were tied onto early Chinese jewelry 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. The first jade pieces were very simple, but as time progressed, more complex design evolved. Jade rings from between the 4th and 7th centuries BCE show evidence of having been worked with a compound milling machine; hundreds of years before the first mention of such equipment in the west.
In China, jewelry was worn frequently by both sexes to show their nobility and wealth. However, in later years, it was used to accentuate beauty. Woman wore highly detailed gold and silver head dresses and numerous other items, while men wore decorative hat buttons which showed rank and gold or silver rings. Woman also wore strips of gold on their foreheads, much like women in the Indus Valley. The band served a purpose like an early form of tiara and it was often decorated with precious gems. The most common piece of jewelry worn by Chinese was the earring, which was worn by both men and women. Amulets were also common too, often with a Chinese symbol or dragon. In fact, dragons, Chinese symbols and also phoenixes were frequently depicted on jewelry designs.
The Chinese often placed their jewelry in their graves; most Chinese graves found by archaeologists contain decorative jewelry.
^ Back To Top ^
|
