Anillos Y Pulseras
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
METAL ENAMELING Leader Guide Pub
Arts & Communication METAL ENAMELING Leader Guide Pub. No. CIR009 WISCONSIN 4-H PUBLICATION HEAD HEART HANDS HEALTH Contents Before Each Meeting: Checklist ..............................1 Adhesive Agents or Binders ....................................6 Facilities Tools, Materials and Equipment Safety Precautions..................................................6 Resource Materials Kiln Firing and Table-Top Units Expenses Metal Cutting and Cleaning Planning Application of Enamel Colors Youth Leaders Other Cautions Project Meeting: Checklist ......................................3 Metal Art and Jewery Terms ...................................7 Purposes of 4-H Arts and Crafts ...........................................8 Components of Good Metal Enameling Futher Leader Training Sources of Supplies How to Start Working Prepare a Project Plan Bibiography ............................................................8 Evaluation of Projects Kiln Prearation and Maintenance ...........................6 WISCONSIN 4-H Pub. No. CIR009, Pg. Welcome! Be sure all youth are familiar with 4H158, Metal Enameling As a leader in the 4-H Metal Enameling Project, you only Member Guide. The guide suggests some tools (soldering need an interest in young people and metal enameling to be irons and propane torches), materials and methods which are successful. more appropriate for older youth and more suitable for larger facilities (school art room or spacious county center), rather To get started, contact your county University of Wisconsin- than your kitchen or basement. Rearrange these recommen- Extension office for the 4-H leadership booklets 4H350, dations to best suit the ages and abilities of your group’s Getting Started in 4-H Leadership, and 4H500, I’m a 4-H membership and your own comfort level as helper. Project Leader. Now What Do I Do? (also available on the Wisconsin 4-H Web Site at http://www.uwex.edu/ces/4h/ As in any art project, a generous supply of tools and pubs/index.html). -
Dogma Y Misticismo En El Parque Arqueológico Las Piedras Del Tunjo En Facatativá, Colombia Hallazgos, Vol
Hallazgos ISSN: 1794-3841 [email protected] Universidad Santo Tomás Colombia Gómez-Montañez, Pablo Felipe Memoria, patrimonio arqueológico y utopías interculturales: dogma y misticismo en el parque arqueológico Las Piedras del Tunjo en Facatativá, Colombia Hallazgos, vol. 10, núm. 19, enero-junio, 2013, pp. 79-99 Universidad Santo Tomás Bogotá, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=413835217006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Memoria, patrimonio arqueológico y utopías interculturales: dogma y misticismo en el parque arqueológico Las Piedras del Tunjo en Facatativá, Colombia* Pablo Felipe Gómez-Montañez** Resumen Recibido: 24 de febrero de 2012 Evaluado: 26 de marzo de 2012 El siguiente artículo es el resultado de un trabajo etnográfico Aceptado: 20 de abril de 2012 llevado a cabo en el parque arqueológico Las Piedras del Tunjo, Colombia, con el cual se da inicio a un proyecto de investigación en la línea de Memoria, Patrimonio y Conflicto Etnopolítico. El texto busca exponer y reflexionar sobre la manera en que una comunidad autorreconocida como “indígena muisca” lucha por interpretar y apropiar socialmente el registro arqueológico, lu- chando contra los sentidos que le otorga la academia y el Esta- do a tal archivo patrimonial. El trabajo busca además proponer nuevas rutas de análisis frente a los conflictos etnopolíticos en- marcados en escenarios en los que el diálogo intercultural pare- ce ser una utopía. -
La Restauracion De Metales En El Museo Del Oro
Juanita Sáenz Obregón La restauracion de metales en el Museo del oro La restauracion de metales en el Museo del oro A la memoria de Luis Barriga del Diestro · Juanita Sáenz Obregón Museo del Oro, Banco de la República Abstract: 1 The Museo del Oro was a pioneer in the restoration of pre-Hispanic pieces in Colombia. Around the precious metal work collection, technical and scientific studies have been produced, and they have developed and applied diverse techniques for the conservation and restoration of the pieces. Some restoration cases are illustrated of objects belonging to the cultural patrimony of all Colombians. Key words: Restoration, conservation, metallurgy, precious metal work collection, Museo del Oro. Resumen: El Museo del Oro fue pionero en la restauración de piezas prehispánicas en Colombia. Alrededor de la colección de orfebrería se han producido estudios científicos y técnicos, y se han desarrollado y aplicado diversas técnicas para la conservación y restauración de las piezas. Se ilustran casos de restauración de objetos que forman parte del patrimonio cultural de todos los colombianos. Palabras clave: Restauración, conservación, metalurgia, colección de orfebrería, Museo del Oro. Boletín Museo del Oro No 47 Julio de 2000 Juanita Sáenz Obregón La restauracion de metales en el Museo del oro Recordando el dicho oriental que dice “El viento nunca cuenta de dónde viene ni a dónde va...” siento que esto nunca pasará con una pieza arqueológica. Cada una de ellas nos cuenta su propia historia, por eso es necesario hacer el recuento de la restauración en el Museo del Oro. El objetivo del Museo es no dejar olvidar la huella de aquellos que hace siglos crearon estos objetos; es un patrimonio al que se debe proteger, restaurar y divulgar con el fin de acercar estas culturas a nuestra vida. -
Forced Displacement and Reconstruction in Contemporary Colombia
UNIVERSITY OF CALIFORNIA, IRVINE Claiming Lands from the City: Forced Displacement and Reconstruction in Contemporary Colombia DISSERTATION Submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY In Anthropology By Andrés Salcedo Fidalgo Dissertation Committee: Professor Teresa Caldeira, Chair Professor William Maurer Professor Susan Coutin Professor Karen Leonard 2006 TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS vi CURRICULUM VITAE ix ABSTRACT OF THE DISSERTATION xi Introduction: Contemporary Colombian Social Disarticulations 1 Bogotá: Disconnected Cities 11 Fieldwork 16 Blocking the Pain of Violence 25 The Battle of the Oaks 32 Scheme of the Dissertation 36 Chapter 1 Geopolitics of War in Historical Light 38 Is it a War? 41 Techniques of Fear 42 A History of Violence Revisited 50 Competing Sovereignties and the Rule of Violence 59 Plan Colombia, FTA and Peace Process with Paramilitaries 66 Geo-warfare 71 Conclusion 83 Chapter 2 Mobility, Victimhood and Place 85 Forced Displacement and Migration 86 Humanitarian Discourses 94 Colombian State’s Assistance 100 Countering Victimization 105 Place and Stigma 114 Conclusion 125 iii Chapter 3 Remembering the Land of “Before” 127 Place-memories 128 Motherland 132 A Land of Plenty 136 Former Work and Social Standing 141 Forgetting War 145 Mementoes in Practices of Resettlement 147 Conclusion 152 Chapter 4 From Struggles over Land to the Politics of Ethnicity 156 Ethnicity and the 1991 Constitution in Colombia 163 History of Colombian Agrarian Movements -
JMD How to Enamel Jewelry
PRESENTS How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques Jewelry Making Daily presents How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques 7 3 21 ENAMELING TIPS BY HELEN I. DRIGGS 12 10 TORCH FIRED ENAMEL ENAMELING MEDALLION NECKLACE BY HELEN I. DRIGGS BY HELEN I. DRIGGS ENAMELED FILIGREE BEADS BY PAM EAST I LOVE COLOR! In jewelry making, enamel is one of the most In “Enameled Filigree Beads,” Pam East walks you through a versatile sources of pure, luscious color – powdered glass you simple technique of torch firing enamel onto a premade bead can apply with great precision onto silver, gold, copper, and using a handheld butane torch instead of an enameling kiln. other jewelry metals. With enamels, you can paint with a broad The enamel adds color to the bead, while the silver filigree brush or add minute and elaborate detail to pendants, brace- creates the look of delicate cells like those in cloisonné enamel lets, earrings, and more. You can work in rich, saturated tones work. And in “Torch Fired Enamel Medallion Necklace,” Helen or in the subtlest of pastels. You can create a world of sharp Driggs shows you how to create your own torch fired enamel contrast in black and white or one entirely of shades of gray. “cabochons,” how to tab set those cabs, and how to stamp You can even mimic the colors of the finest gemstones, but you and patinate the surrounding metalwork, which you can put can also produce hues and patterns you’d never find among the together using the chain of your choice. -
Raymond & Leigh Danielle Austin
PRODUCT TRENDS, BUSINESS TIPS, NATIONAL TONGUE PIERCING DAY & INSTAGRAM FAVS Metal Mafia PIERCER SPOTLIGHT: RAYMOND & LEIGH DANIELLE AUSTIN of BODY JEWEL WITH 8 LOCATIONS ACROSS OHIO STATE Friday, August 14th is NATIONAL TONGUE PIERCING DAY! #nationaltonguepiercingday #nationalpiercingholidays #metalmafialove 14G Titanium Barbell W/ Semi Precious Stone Disc Internally Threaded Starting At $7.54 - TBRI14-CD Threadless Starting At $9.80 - TTBR14-CD 14G Titanium Barbell W/ Swarovski Gem Disc Internally Threaded Starting At $5.60 - TBRI14-GD Threadless Starting At $8.80 - TTBR14-GD @fallenangelokc @holepuncher213 Fallen Angel Tattoo & Body Piercing 14G Titanium Barbell W/ Dome Top 14G Titanium Barbell W/ Dome Top 14G ASTM F-67 Titanium Barbell Assortment Internally Threaded Starting At $5.46 - TBRI14-DM Internally Threaded Starting At $5.46 - TBRI14-DM Starting At $17.55 - ATBRE- Threadless Starting At $8.80 - TTBR14-DM Threadless Starting At $8.80 - TTBR14-DM 14G Threaded Barbell W Plain Balls 14G Steel Internally Threaded Barbell W Gem Balls Steel External Starting At $0.28 - SBRE14- 24 Piece Assortment Pack $58.00 - ASBRI145/85 Steel Internal Starting At $1.90 - SBRI14- @the.stabbing.russian Titanium Internal Starting At $5.40 - TBRI14- Read Street Tattoo Parlour ANODIZE ANY ASTM F-136 TITANIUM ITEM IN-HOUSE FOR JUST 30¢ EXTRA PER PIECE! Blue (BL) Bronze (BR) Blurple Dark Blue (DB) Dark Purple (DP) Golden (GO) Light Blue (LB) Light Purple (LP) Pink (PK) Purple (PR) Rosey Gold (RG) Yellow(YW) (Blue-Purple) (BP) 2 COPYRIGHT METAL MAFIA 2020 COPYRIGHT METAL MAFIA 2020 3 CONTENTS Septum Clickers 05 AUGUST METAL MAFIA One trend that's not leaving for sure is the septum piercing. -
The Licit and the Illicit in Archaeological and Heritage Discourses
CHALLENGING THE DICHOTOMY EDIT ED BY LES FIELD CRISTÓBAL GNeccO JOE WATKINS CHALLENGING THE DICHOTOMY • The Licit and the Illicit in Archaeological and Heritage Discourses TUCSON The University of Arizona Press www.uapress.arizona.edu © 2016 by The Arizona Board of Regents Open-access edition published 2020 ISBN-13: 978-0-8165-3130-1 (cloth) ISBN-13: 978-0-8165-4169-0 (open-access e-book) The text of this book is licensed under the Creative Commons Atrribution- NonCommercial-NoDerivsatives 4.0 (CC BY-NC-ND 4.0), which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Cover designed by Leigh McDonald Publication of this book is made possible in part by the Wenner-Gren Foundation. Library of Congress Cataloging-in-Publication Data Names: Field, Les W., editor. | Gnecco, Cristóbal, editor. | Watkins, Joe, 1951– editor. Title: Challenging the dichotomy : the licit and the illicit in archaeological and heritage discourses / edited by Les Field, Cristóbal Gnecco, and Joe Watkins. Description: Tucson : The University of Arizona Press, 2016. | Includes bibliographical references and index. Identifiers: LCCN 2016007488 | ISBN 9780816531301 (cloth : alk. paper) Subjects: LCSH: Archaeology. | Archaeology and state. | Cultural property—Protection. Classification: LCC CC65 .C47 2016 | DDC 930.1—dc23 LC record available at https:// lccn.loc.gov/2016007488 An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. -
Paisley and Filigree Diamond Wedding Band, RG-1747Wbd This
Paisley and Filigree Diamond Wedding Band, RG-1747wbd This 18k white gold filigree and diamond wedding band is elegant worn alone or paired with a filigree engagement ring. Twenty-two round brilliant cut diamonds accentuate the band along the top and shoulders and six additional diamonds add shimmer and sparkle on the sides. The combined weight of all 28 diamonds is 0.20 carats. Filigree swirls and milgraining further enhance the design of filigree wedding rings like this one. Options None Item # rg1747wbd Metal 18k white gold Weight in grams 2.35 Special characteristics This wedding band compliments engagement ring style RG-1747 as well as engagement ring style RG-2567. The band is also beautiful worn alone as it is not curved or notched to fit snugly against an engagement ring. Condition New Diamond cut or shape round brilliant cut Diamond carat weight 0.20 Diamond color G to H Diamond clarity VS2 Diamond # of stones 28 Top of ring width (E-W) 2.49 mm [0.10 in] Width of shank at shoulders 2.31 mm [0.09 in] Width of shank at base 2.04 mm [0.08 in] Ring height above finger 2.46 mm [0.10 in] Other ring info For new rings like this one, the gram weight, diamond and gemstone carat weights, color, and clarity, as well as other jewelry details, vary from the specifications shown on this page, but are similar in quality. Important Jewelry Information Each antique and vintage jewelry piece is sent off site to be evaluated by an appraiser who is not a Topazery employee and who has earned the GIA Graduate Gemologist diploma as well as the title of AGS Certified Gemologist Appraiser. -
Filigree Jewelry Product Differentiation (Case Study Filigree Kota Gede Yogyakarta)
Filigree Jewelry Product Differentiation (Case Study Filigree Kota Gede Yogyakarta) Asep Sufyan Muhakik Atamtajani1 1Product Design, Faculty of Creative Industries, Telkom University, Indonesia [email protected](Asep Sufyan Muhakik Atamtajani)1 Abstract The reason that product design differentiation is important because it maintains a product’s existence last longer in the market and keep the consumer interested into the product. Differentiation means increasing the quality, selling value, and visual value of a product. To develop a product, a creator are trying to create a new, creative, and distinguish product that different with other similar products in the market, in this case is traditional and modern jewelry. Traditional jewelry has its own unique dimension in terms of design process, production techniques, and aesthetic aspects that combine several elements of material. Along with the development of industrialization and market segmentation becomes broader, jewelry becomes an appealing commodity. Time flies and jewelry has shifted from a meaning of self-philosophy of the user into a universal meaning as a consumptive identity in cultural society. Filigree with his trademark can survive by showing its value in the international market. Filigree itself is one of the oldest techniques that have been abandoned for a long period of time because some reasons, especially about the process and other considerations. Kotagede Yogyakarta is one of the cities that still maintain the technique of design process filigree, although until now not a few of the craftsmen have started to spread to other cities. Keywords: Differentiation, Product Design, Jewelry, Filigree. 1. INTRODUCTION Once the problems can be demonstrated factually, further information needs to be gathered as the Jewelry has a universal meaning and local material for specific product planning that is expected significance, especially the Indonesian silver filigree to address the problem. -
Re-Meaning the Indigenous Muisca Cemetery of Usme, Colombia: Ethnography of Collaborative Project and Patrimonial Debate
RE-MEANING THE INDIGENOUS MUISCA CEMETERY OF USME, COLOMBIA: ETHNOGRAPHY OF COLLABORATIVE PROJECT AND PATRIMONIAL DEBATE Pablo F. Gómez-Montañez Candidate to PhD in Anthropology of Universidad de los Andes, Colombia Researcher of Group of Memory, Universidad Santo Tomás, Colombia E-mail: [email protected] ABSTRACT The paper exposes an ethnographic view of a collaborative field work, made in Hacienda El Carmen in Usme, Colombia, a terrain where an indigenous muisca cemetery was found. The analysis focuses on the struggles between the named “authorized patrimonial discourse” and the “cultural process of patrimony”. In the first part, I want to expose the processes that led us to purpose a current collaborative research project implemented by the Universidad Santo Tomás’ Group of Memory and the Indigenous Muisca Community of Bosa. Based on a situational analysis methodology, this part is the result of an ethnographic field work of some spaces of dialogue and encounter among different logics to understand the patrimony and the heritage. In middle of struggles with the public institutions, the academy and other social groups, the muisca people build and negotiate their ethnic identity as part of their cultural and political project. In the second part, the situational analysis will be applied in scenarios where the muisca people began to interpret the archaeological territory of Hacienda El Carmen. In this part, I will try to expose some epistemological reflections about alternative and inclusive ways of knowledge and remembering. The new senses and narratives, produced as a result of this exercise, let us thinking about the symbolic strategies used by the muisca people to occupy an important place in the present and the possibility of understanding and purposing current citizen visions from creative and original ways of incorporate ancestral memories. -
Introduction to Casting for 3D Printed Jewelry Patterns the Way Jewelers Work Is Changing, and Castable Photopolymer Resins Are Leading the Way
Introduction to Casting for 3D Printed Jewelry Patterns The way jewelers work is changing, and castable photopolymer resins are leading the way. From independent designers concepting and prototyping in their studios, to casting houses increasing capacity and diversifying their offerings, digital fabrication techniques are increasingly key to growing a successful jewelry business. In this guide, learn how to cast fine jewelry pieces from patterns 3D printed on the Form 2. Request a Sample Part 3D Printed in Castable Wax Resin › Learn About Casting and Jewelry Production from Formlabs › July 2019 | formlabs.com What Is Direct Investment Casting? Direct investment casting, or lost wax casting, is a popular moldmaking technique that can be used to fabricate small and large parts in a wide variety of metals. Originating over 5,000 years ago, casting enables creators to work with a wide variety of materials and is one of the easiest ways to make metal parts. In investment casting, a hollow mold is created from a hand-sculpted or 3D printed master pattern. The master is immersed in a refractory casting material (or “investment”), which dries and hardens. The wax or 3D printed pattern is burned out, leaving a negative mold of the design. Metal is poured into this hollow cavity to create the final part. Wax patterns for intricate jewelry are complicated to produce by hand, and in a world driven by high demand and fast fashion, it can be difficult for hand-crafted pieces to keep pace. Advanced materials and affordable in-house 3D printers like the Form 2 are changing the way jewelry manufacturers and designers work, bringing industrial quality to the desktop and making it easier to produce and fit complicated geometries that once required hours of meticulous labor. -
Early Christian Era | H1 Notes
Early Christian Era | H1 Notes The People From around 430AE, missionaries were sent to Ireland. Christianity gradually grew, and trade in and out of the country increased. As a result, skills like Roman metalworking and writing were imported too, and by the 7th Century, the period known as the Irish Golden Age had begun. Elements from a mixture of cultures, techniques and art styles (Celtic La Tène, Mediterranean knotwork, Anglo-Saxon & Pictish intertwined zoomorphic designs, and later, Viking Urnes style), were adopted and mixed, eventually becoming what we know as Insular Art. Monasteries were established and run by various orders of monks across the island, these monasteries were centres of learning and scholarly devotion. Many of the masterpieces that were created during this time were made or commissioned to show the craftsperson/patron’s devotion. These pieces were made of precious metals and stones, some also functioned as reliquaries, (artefacts containing holy relics, like the Cross of Cong, said to contain part of the “True Cross”). The wealth concentrated in the monasteries began to attract attention. During the 11th & 12th Centuries, the Viking raids began. The monasteries stood little chance against the raiders, and so valuable pieces were often hidden away to keep them safe. Some, like the Ardagh hoard, were never recovered until many years after. Some have never been recovered. Many pieces were destroyed, melted for their precious metals, jewels torn off etc. However, as the worst of the raids passed, Irish artists began to adopt aspects of the Vikings’ Urnes style, (typified by zoomorphic interlacing (interlaced animals)).