A large quanti ty of gold'vork was produced in Cyprus during the Late Bronze Age. This thesis is the result of a detailed investiGation of this material. The thesis consists of two parts. Part One comprises general backeround information essential to the study. This begins with a brief summary of the nineteenth century excavations in Cyprus which brought to light so much of the finest &old'fork. This is followed by an outline of the limited contextual evidence from tombs, settlements, sanctuaries and hoards. The rest of Part One considers the possible sources of the gold itself and the techniques which \ .... ere used by the Late Bronze Ace t,'oldsmiths. Part Two comprises a detailed analysis of the eold"ork. This is based for the most part on objects which were physically exal:dned, '\{ith the aid of a microscope. These represent a large proportion of the available material, but the analysis also takes account of as many as possible of the other known and published items. Each class of object is subdivided for convenience according to type or decoration, and relevant technical points are discussed. ".ihere possible, comparisons are made with material :from other areas such as the Aege~ or the Kear Last. The chronology is indicated where it is known. The final conclusions offer a summary of the relationship between Cyprus and other areas with reference to the goldwork. The extent of the ~1ycenaean contribution is discussed, and the material is placed "Ii thin its historical framework. Volume Two comprises the descriptive catalogue of the objects which were examined.It also contains the Plates and Figures.

This practice-led research project takes the form of a written thesis, a body of new work and a public exhibition, which are designed to be reciprocally illuminating. Collectively they articulate a response to the central question; „How do contemporary jewellery makers transfer the sensory experience of place into a tangible object?‟ Fundamental to this enquiry is „The Topophilia Project‟ - a creative participatory research method where the resulting artefacts serve both as data and represent data. This project involved a group of 16 contemporary makers creating new work to brief for an exhibition entitled „A Sense of Place; New Jewellery from Northern Lands‟. The exhibition was held in the National Museums of Scotland in Edinburgh from May to September 2012 and formed the primary vehicle with which to both present and explore research into the contemporary jewellery of Northern Europe. The new artifacts and first person accounts produced as a result of this research method enabled an investigation into the maker‟s approach to material and process. These highly valuable resources allowed for a reading and deciphering of the methods used by the artists when gathering information from their surrounding environments. Multifaceted methods of practice are distilled within the project outcomes allowing for a broadened terminology to unfold in reference to these practices. This Northern study, rooted in phenomenological understanding and investigated through the creative process, contributes knowledge to the field from an alternative perspective to the dominant position of Central European jewellery output. As a geographically focused inquiry it also adds a necessary alternative outlook to studies focusing on multi-cultural migration. The resulting body of research outlines an arena of practice and theory in which the work of these makers can be debated, analysed, and criticised within the broader field, contributing to the cross-disciplinary discourse on contemporary theories of place of benefit to those interested in the significance of environmental influence on the creative process.

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Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects. / AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.

Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.

This work offers a view into the representation and function of the jewellery in the Old Kingdom. We can consider jewellery as a part of the cultural values of mankind, not only because of its aesthetic function. My purpose is a comprehensive insight of the importance and the representation of jewellery in the Old Kingdom, which is associated with a social role of the tomb owners. The primary source of knowledge of the meanings and functions of the jewellery are the iconographic sources in the Old Kingdom nonroyal tombs, including the scenes of the jewellery workshops and jewels as part of the funerary equipment.

Este trabalho analisa as relações entre os processos de criação nas áreas da Joalheria e da Arquitetura. Desde o esboço, passando pelos desenhos, croquis, maquetes e até as modernas formas de representação computacional, o processo criativo deve levar em conta sempre fatores como expressão de uma visão particular do mundo e referências e condições estéticas, práticas e históricas. Leva-se em conta o caso do arquiteto Frank Gehry, que desenvolveu projetos de renome em ambas as áreas. Observa-se a trajetória dessas áreas, desde seus primórdios, e as soluções encontradas pelo homem, através do tempo, para a interferência nos objetos e nos espaços, a fim de deixar sua marca e proporcionar progressos na vida humana. Por fim, detalham-se as novas tecnologias empregadas nas criações e representações de formas complexas, com destaque para os softwares em 3D, que propiciam a evolução dos projetos com melhora em custos e prazos nos projetos multimilionários na atualidade. / This research presents the relations among the many process of creation in the jewellery and architecture areas. Starting with the outline, passing on the drawings, sketches and getting through the modern ways of computer representation, the creative process must consider the reasons like a private vision of the world, historical references, esthetic conditions and practices. Frank Gehry developed renowned projects in both areas. The trajetory of these areas can be observed since their beginning. The solutions found by the human being through the time, for the interference in the objects and in many places in order to mark and propose every kind of progress for human lives. Lastly, this research details the new tecnologies which were used in creations and in the complex ways of representation, like the 3D softwares, which range the evolution of the projects, together with the improvement in costs and time for the present multimillionaire projects.

This thesis examines the jewellery craft in Scotland between 1780 and 1914 with a focus on the relationship between materials, making processes, and the social and cultural meanings of objects. While dominant narratives of craft in this period frame producers as the victims of industrialisation, this thesis considers Scotland’s jewellers as cultural actors who shaped their own worlds during a period of profound economic, social and cultural change. A material culture approach is employed to examine the work of Scotland’s jewellers through the things they made. Fusing object-based research with a wide range of visual and textual sources, the thesis shows how producers applied their skill, knowledge and creativity to manipulate raw matter into meaningful objects that not only reflected, but brought about wider social and cultural shifts. Through a focus on materiality, the thesis builds on new methodological approaches to the history of material culture to show how the mutable meanings of matter and workmanship impacted on the ways in which jewellery was produced, consumed, worn and perceived. Scotland provides a rich area of focus for this study. The country has a long history of quality craft production in jewellery and silverware, with the geological and natural diversity of the region providing jewellers with precious metals, coloured stones and freshwater pearls. The study examines industry dynamics, artisanal education and making processes to show how jewellers fashioned an image of their craft that was rooted in ideas of history, inherited skill and quality. The life cycle of native materials is traced from their raw state through the workshop and on to owners’ bodies to reveal how changes in workshop production were inseparable from shifting aesthetics and cultural ideas relating to nature, landscape and the past. These findings complicate the persistent myth of the decline of craft as a result of industrialisation to show that the desire for Scottish-made jewellery stimulated new and revived skills and trades that cut across urban and rural areas. While the thesis is geographically specific to Scotland, it places luxury producers within the interdisciplinary domain of cultural history to provide new insights into the study of the multifaceted transformations that marked British industry during the long-nineteenth century.

A presente dissertação se baseou no percurso da história da arte, para compreender as manifestações da história da joalheria, pois a joia com seu valor material é um patrimônio impregnado de simbologias e de significados estéticos. Este trabalho utilizou a pesquisa histórica, baseada na pesquisa bibliográfica ou de fontes secundárias. Estabeleceu-se um painel cronológico do caminho percorrido pela humanidade para desenvolver a arte da joalheria, desde o seu surgimento, procurando fazer relação entre suas descobertas, necessidades de novos materiais, o aprimoramento de técnicas ou ainda a capacidade de desenvolver habilidades para executá-las. A sua relação com as artes plásticas, que nas últimas décadas levaram a arte e a joia a romper paradigmas. Atualmente, a joia é mais despojada, enfrenta novos desafios como a preocupação com o meio ambiente e a utilização de sementes, madeiras, entre outros materiais naturais, criando objetos com design diferenciado e contemporâneo. / This dissertation is based on the course of art history, to understand the manifestations of the history of jewelry, as the jewel in its material value is a heritage steeped in symbolism and aesthetic meanings. This study used historical research, based on literature or secondary sources. Established a panel chronological path for humanity to develop the art of jewelry, from its inception, seeking to make the relationship between their findings, need for new materials, improvement of techniques or even the ability to develop skills to execute them. His relationship with the arts, which in recent decades have led to art and jewelry to break paradigms. Currently, the jewel is more casual, faces new challenges such as concern for the environment and use of seeds, wood, and other natural materials, creating objects with different design and contemporary.

The following dissertation is presented in two parts. The main part is focused on the collection of twelve jewellery pieces, which I designed and produced myself. In case of decorative objects I tried to find a balance of shapes, structures and materials. The jewellery is made from organic and natural resources which I often find charming and fascinating. The greatest inspiration for me had to be the world`s natural civilisations, which don{\crq}t regard the jewellery pieces just as decoration but for them represent also magical and spiritual meaning. In the theoretic part of my dissertation I focused on the comparison of jewellery in natural civilisations with the primate jewellery of mankind. In this part of my work I searched for the roots of magic and art in general and I discovered the connections with todays remaining natural civilisations {--} magical meaning of jewellery, use of material and meaningful ornaments. Here I also mentioned the use and representation of jewellery. Attempting to clarify the concept of amullet, talisman and fetish. All written text is supported by picture documentation. In the last chapter I summarised the main focus of my dissertation and reflected on the creative process of my work. The last part of my dissertation contains all photo documentation of the creative process.