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Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry
2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry Wang Xiaoyue Department of Jewelry, College of Jewelry, China Univercity of Geosciences, Wuhan, Hubei, 430074, China email: [email protected] Keywords: Jingchu Cultural Symbol, Turquoise, Jewelry Design, Connotation Features, Chutian God Bird, Creative Expression Abstract: Turquoise is one of the four famous jades in China, which carries the Chinese jade culture for thousands of years. Jingchu culture is a strong local culture represented by the Hubei region of our country. It has a long history and is an important branch of the splendid local history and culture in our country. The combination of Jingchu cultural symbols and turquoise culture to create jewelry has a long history. This paper discusses the application of Hubei Jingchu cultural symbol in the design of turquoise jewelry under the guidance of these two cultural contents. 1. Jingchu Culture Symbol and Turquoise Culture Jingchu culture is the representative of the local culture of our country. It is a special cultural content formed in a specific historical period and a specific region. At that time, in order to inherit the cultural content of Chinese vinegar, carry forward the long history, integrate the Jingchu culture into many treasure jewelry, and form the characteristic jewelry type with the cultural symbol of Jingchu as the background, it is the turquoise jewelry which combines the Jingchu culture. Turquoise, as one of the four great jades in China, has a profound cultural background which can not be underestimated. 1.1. Jingchu Culture and Its Symbols The culture of jingchu is named after the state of chu and the people of chu. -
School District of Marshfield Course Syllabus
School District of Marshfield Course Syllabus Course Name: Jewelry & Metal Arts Length of Course: Semester Credits: ½ credit Course Description: Students will explore and create a variety of handmade wearable art jewelry from copper, brass, nickel and sterling silver. Through investigation of multiple techniques and the study of cultural uses of jewelry, students will learn soldering, torch work, metal sawing & piercing, cabochon stone-setting, patina applications, oxidation, and color treatments on metal. Students will use fabrication techniques to create wearable pieces of art, including necklaces, rings, and earrings. Learning Targets: Investigate traditions of jewelry making across time and cultures Research cultures that have used sophisticated jewelry techniques Learn about the jewelry design process and create 2-dimensional plans for 3-dimensional models Demonstrate the techniques of sawing and piercing metal Demonstrate the techniques of soldering metals together using a jeweler’s torch Demonstrate final finishing techniques, including buffing, oxidation and patina application Demonstrate alternative connection methods, such as cold-connections Create jewelry that includes a cabachon stone using a bezel setting Create fabricated jewelry designs, including rings, pendants, earrings and pins Topic/Content Outline-Units and Themes: 1. Understanding Metallurgy (1 week) A. History of Metals and Jewelry B. Metals: What are they? Understanding copper, brass and sterling silver C. Understanding Melting Points, Properties & Malleability D. Learning the Difference Between Ferrous & Non-Ferrous Metals 2. Basic Fabrication Techniques and Safety (2 weeks) A. Sawing and Piercing Metal: Safety, Process and Technique B. Pattern-Making C. Filing and Sanding Metal Page 1 of 3 D. Creating Texture: Hammering, Stamping, Embossing, Chasing E. -
Jewelry Making & Beading
Jewelry Making & Beading by Chris Franchetti Michaels Teach Yourself VISUALLY™ Jewelry Making & Beading Copyright © 2007 by Wiley Publishing, Inc., Hoboken, New Jersey. All rights reserved. Published by Wiley Publishing, Inc., Hoboken, New Jersey No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per- copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. Wiley, the Wiley Publishing logo, Teach Yourself VISUALLY, and related trademarks are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book. The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Important Jewelry
IMPORTANT JEWELRY Tuesday, October 16, 2018 NEW YORK IMPORTANT JEWELRY AUCTION Tuesday, October 16, 2018 at 10am EXHIBITION Friday, October 12, 10am – 5pm Saturday, October 13, 10am – 5pm Sunday, October 14, Noon – 5pm Monday, October 15, 10am – 2pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Lot 27 INCLUDING PROPERTY FROM THE ESTATES OF Henri Jo Barth The Noel and Harriette Levine Collection A Long Island Lady A Distinguished New Jersey Interior Decorator A New York Lady A New York Private Collector Barbara Wainscott INCLUDING PROPERTY FROM A Florida Lady A Miami Lady A New Jersey Private Collector A New York Collector A Private Collection A Private Collector CONTENTS Important Jewelry 1-535 Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V Buying at Doyle VI Selling at Doyle VIII Auction Schedule IX Company Directory X Absentee Bid Form XII Lot 529 The Estate of Henri Jo ‘Bootsie’ Barth Doyle is honored to auction jewelry from the Estate of Henrie Jo “Bootsie” Barth. Descended from one of Shreveport, Louisiana’s founding families, Henrie Jo Barth, known all her life as Bootsie, was educated at The Hockaday School in Dallas and Bryn Mawr College. She settled on New York’s Upper East Side and maintained close ties with Shreveport, where she had a second residence for many years. Bootsie was passionate about travel and frequently left her Manhattan home for destinations around the world. One month of every year was spent traveling throughout Europe with Paris as her Lots 533 & 535 base and another month was spent in Japan, based in Kyoto. -
Important Jewelry
IMPORTANT JEWELRY Wednesday, October 18, 2017 NEW YORK IMPORTANT JEWELRY AUCTION Wednesday, October 18, 2017 at 10am EXHIBITION Saturday, October 14, 10am – 5pm Sunday, October 15, Noon – 5pm Monday, October 16, 10am – 5pm Tuesday, October 17, 10am – 2pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $45 INCLUDING PROPERTY FROM CONTENTS THE ESTATES OF Important Jewelry 1-519 Conditions of Sale I Emmajane DeLong Terms of Guarantee III Geraldine Hickox Information on Sales & Use Tax IV Barbara Hartley Lord Buying at Doyle V Aileen Mehle Selling at Doyle VII A New York City Private Estate Auction Schedule VIII Company Directory IX Absentee Bid Form XI INCLUDING PROPERTY FROM A Beverly Hills Collector A Connecticut Collector A Distinguished Lady A Lady A Pennsylvania Collector A Family of Spanish Descent Lot 519 5 3 1 2 4 5 1 2 3 4 5 Pair of Gold, Cabochon Peridot and High Karat Gold and Emerald Pair of High Karat Gold Earclips, Zolotas Gold ‘Mycenaean’ Necklace, Ilias Lalaounis Gold ‘Mycenaean’ Bracelet, Ilias Lalaounis Aquamarine and Mother-of-Pearl Earclips, Bangle Bracelet 22 kt., composed of hammered gold 18 kt., composed of pairs of scrolled links on 18 kt., composed of pairs of scrolled Elizabeth Locke 22 kt., the tubular bangle of polished twisted overlapping elongated oval bombé panels, a double strand mesh gold chain, links, no. F69, with maker’s mark, model 18 kt., the oval hammered gold stepped gold spaced by slender rope-twist bands, signed Zolotas, with maker’s mark, with maker’s mark, approximately 63 dwts. -
Jennifer Shaifer Thesis
50 specialized in the lost-wax casting method to create his work and even wrote a textbook on the subject.113 Winston influenced the work of MAG members Robert Dhaemers, Florence Resnikoff, and Irena Brynner, among others. Robert Dhaemers utilized techniques and surface treatments such as patinas and engraving to give his jewelry a worn appearance. He didn’t believe in the “artificial maintenance” of keeping jewelry polished.114 Florence Resnikoff’s jewelry showcased her interest in color and metallurgy. She utilized several techniques to achieve her designs including casting, enameling, electroforming, and anodization of refractory metals.115 Franz Bergmann, an immigrant from Vienna, was one of the few jewelers in San Francisco who maintained an atelier. He forged wire and cut sheets to produce his works with a constructivist and/or surrealist designs.116 Irena Brynner, who apprenticed with Bergmann briefly, looked at jewelry as sculpture and applied techniques such as forging and piercing to realize her designs. Her later works simulated the appearance of the lost-wax casting techniques; however, she developed a new aesthetic using a tool called a water welder.117 Peter Macchiarini, another studio/shop owner, incorporated ideas of constructivism and anthropomorphism in his designs. His designs showcased internal structures with the use of patinas as well as found objects.118 Merry Renk replicated the geometric abstract structures found in nature. Her early works were nonobjective designs that emphasized the potential of metal by using interlocking forms, metal folding, and enamel. As she developed her design philosophy, she progressed into more realistic and less abstract forms. -
A Conversation with Metalsmith Cynthia Eid
artist profile A conversation with metalsmith Cynthia Eid Educator, author, and artist another piece, the better I like it. One of the most satisfying things Cynthia Eid is known for her about deep-drawing is turning the metal inside out. Metal is so stiff, but there are times when you can watch it flow like taffy. bold, adventurous forms that test the limits of metal’s structure. After getting your degree, you spent five years doing bench Twisted, but never tortured, her work. How necessary was that kind of training? On the one hand, I learned all sorts of things that I didn’t learn at pieces evoke the natural world the university. I learned to think faster, design faster, and work as seen through a dreamscape — faster. I learned a lot of technical stuff. But I also made a lot of ugly half-imagined versions of familiar stuff in the gold-jewelry factory where I worked for 3 years, and that was painful. So, I took pride in making the best hinges, organic forms. Eid is based in settings, molds, and box catches I could. Lexington, Massachusetts, teaches at workshops across the country, and has become known for her technical Any advice for jewelers just starting out? Make yourself rounded. There’s a lot to be said for knowing how expertise in new tools and materials, including Argentium Sterling Silver. [a] Sampler brooch. Sterling silver, 14k gold. 2¾ x 1¼ x ¼ in. (70 x 32 x 6.5mm). [b] Torsion pendant on handwoven chain. Sterling Your family was important in your becoming an artist, because silver, 14k and 18k gold, amethyst, pearls. -
Jamey D. Allen Age: 56
CURRICULUM VITAE Jamey D. Allen Age: 56 P.O. Box 1582 Santa Rosa, CA 95402-1582 (707) 575-0699 (after 11 am) [email protected] PUBLICATIONS Works in progress: Made In Africa: Glass Beads (with Billy Steinberg) 2001 Tibetan Zi Beads (with Dr. J. M. Kenoyer and David Joiner) 1997 A History of Aggrey Beads from West Africa 1995 A History of Star Beads 1980 Complete but unpublished: “Obscure Drawn Glass Beads” (for Bead Expo ‘94) 1994 “An Analysis of Ancient Indonesian Glass Beads” 1989 BOOKS Eye Beads and Magical Amulets (with Hung Shi Chang) 2000 Magical Ancient Beads (catalogue of the Ulrich Beck Collection) 1998 Five Artists: Five Direction in Polymer Clay 1995 CATALOGUES A Bead Timeline of History (with James Lankton) 2000 Seashells: First Ornaments? (catalogue for The Bead Museum) 1994 Twenty-Five Years with Beads (for The Bead Museum) 1992 An Introduction to Indonesian Glass Beads (catalogue for The Bead Museum) 1990 Amber at The Bead Museum (exhibit catalogue) 1989 vitae -2- ARTICLES “Mistaken Identity: The Misrepresentation of Beads in the Antiquities Marketplace,” International Bead & Beadwork Conference, Istanbul 2007 “Trade Beads: The Manufacture and Movement of Beads in Recent History, from CE 1400 to 1950,” International Bead & Beadwork Conference, Istanbul 2007 “Javanese (Jatim) beads in the Late Fifth to Early Sixth-Century Korean (Silla) Tombs,” Annales du Congres de l’Association Internationale pour l’Historie du Verre (with James Lankton and In-Sook Lee) 2005 “Bead Making At Murano and Venice, By B. Harvey Carroll, Jr.,” Beads, Volume 16, pp. 17 to 37. 2004 “Tibetan Zi Beads: The Current Fascination with Their Nature and History,” Arts of Asia, 32:4, pp. -
Beading Needles
BEADING Beading Needles & Tools NEEDLES S Bends easily, without breaking or warping Beading Needles ①Needle-eye ①The well-finished needle-eye enables users to thread a needle smoothly without snagging a thread. Furthermore, the robustness of the needle-eye provides users with a sense of security. ②The highly flexible body returns to its original shape even after piercing through a narrow clearance in bead stitching. Treated with heat, this needle is robust and highly flexible. ②Body ○Well-f inished robust needle-eye ○Strong and break-resistant body Designed by Satoko Nakamura ③The tip is slightly rounded to avoid splitting the thread. The fine needle can smoothly pierce through a narrow clearance among stitches. Designed by Carol Cypher ③Needle Point actual size #10（Long） 0.46mm×51.0mm #10（Short） 0.46mm×37.0mm #11 0.41mm×48.5mm #11（Short） 0.41mm×37.0mm #12 0.35mm×47.5mm #13 0.30mm×35.0mm TBN-001e TBN-002e TBN-003e TBN-014e TBN-004e TBN-005e TBN-013e UPC ART. NO. ART. NAME SIZE pcs./pack FEATURES Package size & Net weight packs/box The tip is slightly rounded to avoid splitting the thread. It can go through 846550013806 TBN-001e Beading Needles #10 (Long) 0.46mm×51.0mm 4 35mm×90mm×14mm 4g 10 a seed bead 15/0 twice. Ideal for beading & bead embroidery. Runs smoothly through fabric with a fine point. It can go through a seed 846550013813 TBN-002e Bead Embroidery (Sharp) #10 (Short) 0.46mm×37.0mm 4 35mm×90mm×14mm 4g 10 bead 15/0 twice. -
Nature's Bead Embroidery Presented by Eleanor Pigman
July 2015 Nature's Bead Embroidery Presented by Eleanor Pigman Tuesday, July 21 at 7:30 p.m. Social half-hour at 7 pm with coffee/tea Courtyard Marriott, 5555 Shellmound, Emeryville, 94605. The parking lot is a gated surface lot around the hotel. Bring your parking ticket into the hotel; get it validated after the meeting and BSNC will pay the parking fee. Members free with membership card, non-members $5 Eleanor Pigman's opening page shows a life-like jewel toned tropical fish. If this is any indication of her presentation on July 21st, we are in for an unusual treat. She will share her artistic journey beginning with the early influences she experienced growing up in New York City to finally discovering bead embroidery. Eleanor fell into the world of bead embroidery after she created a bead embroidered portrait of Barack Obama for a moveon.org contest and was one of the 50 finalist. Her piece was published, and was given a Congressional Award for “keeping hope alive through art”. This has propelled her to move forward with her work. Another piece is part of a permanent exhibition with NOAA the National Oceanic and Atmospheric Administration in St. Petersburg, FL. She will discuss her personal relationship with beads - how creating order using beads is a therapeutic experience which all beaders have realized ~ she had just kicked it up a notch which her presentation will expansively show all who attend the meeting. Eleanor is trying to create the impossible. As a self taught artist, she is always pushing the boundaries in her artistic process.