Search

For DanaIt is often forgotten that a variety of French peculiar to the British Isles, known as Anglo-Norman was, for more than four centuries post-Conquest, the default language for inscriptions of an amatory nature, on jewellery especially. The large number of inscribed rings, brooches and seal matrices unearthed by metal-detectorists in recent decades whose finds are recorded in detail on the Portable Antiquities Scheme (PAS) database have prompted this consideration of these legends — often simple rhyming couplets or 'posies' — especially in the context of that set of romantic conventions retrospectively termed 'Courtly Love'.1 [ABSTRACT FROM AUTHOR]

Jewellery made of precious stones and metals is a luxury item, referring to goods with excessive consumer properties. At the same time, the sphere of turnover of precious metals, precious stones (PMPS) and products made from them is of strategic importance for the formation and development of the state economy. Businesses operating in this sphere are subject to compulsory registration in a special state register. The government is interested in supporting the jewellery industry and increasing its turnover, which is directly dependent on the population’s demand for PMPS products.Popular demand, in turn, depends on many factors that have their own specificities in relation to the area under study. An assessment of the factors based on expert opinion, conducted by the author with interviews of a group of consumers, the study of scientific research materials and journalistic articles from various Internet resources, indicates the acceptable superiority of offers of jewellery made of precious stones and metals, focused on the potential increase in the possibilities of sunlight.The conclusions presented in the paper on the factors influencing demand are recommended for use in the development of business development strategies and may be useful in making decisions on state regulation of the sale of jewellery made from PMPS.

In order to improve the emotional expression effect of jewellery, this article combines artificial intelligence technology to analyse the emotional expression in jewellery design. Aiming at the characteristics of high‐gloss materials such as strong reflectivity and translucency, starting from the classic ray tracing algorithm, this article strengthens the reflected light and projected light on the surface of the material, and proposes a realistic rendering algorithm for high‐gloss materials. Moreover, this article introduces the CUDA parallel computing architecture to give full play to the computing power of multi‐core computers, accelerate the calculation speed of the ray tracing algorithm, save the consumption of storage space, and improve the speed of real‐time rendering under the premise of ensuring realism. The experimental research results show that the emotional expression system for smart jewellery design proposed in this article has a certain effect, which can effectively improve the effect of jewellery design. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study investigates the synergy between additive manufacturing (AM) technologies and computational design strategies in jewellery and how that synergy can be successfully exploited to extend innovation in that field further. A case study called Ecdysis, a bioinspired jewellery collection, is presented. A dedicated computational algorithm has been developed and is described in detail. This algorithm allows for the exploitation of the shape and functional complexity dimensions allowed by AM and the control of the printability of the generated concept. Shape and functional complexity are exploited to mimic the beauty and dynamism of snakes' slithering mechanism. At the same time, starting from the developed algorithm, multiple digital models and physical prototypes have been fabricated, leveraging material extrusion, vat photopolymerisation, and powder bed fusion processes. This further development step of the collection thus confirms the versatility of both the proposed approach and AM technologies for jewellery. Therefore, the paper demonstrates how unique wearing experiences can be created and how uniqueness can be simultaneously preserved and democratised in jewellery by deepening the synergy between AM technologies and computational strategies. [ABSTRACT FROM AUTHOR]

Driven by the Dual Process Theory and the Theory of Consumption, the purpose of this paper is to provide a refined scale for luxury consumption motives in addition to categorising the motives into emotional and rational concepts.

Copyright of Espacio, Tiempo y Forma. Serie III, Historia Medieval is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The archaeological research carried out in 1949 by Radu Vulpe in the protohistoric settlement of Poiana (Galati County, Romania) led to the discovery of several silver objects. For a long time, how these objects were associated or not, as well as their archaeological contexts, remained unknown. Finding and studying the unpublished Radu Vulpe’s field diary from 1949 allows the identification of two hoards : one consists of a pair of larger Almgren type 82 fibulae, the other includes two other smaller Almgren 82 type fibulae, a lost earring, seven rings and four republican denarii. Other objects uncovered in 1949 were discovered in isolation. Some of these objects provide consistent indications for local processing of precious metals in the late phase of the settlement (late 1st century AD and the beginning of the 2nd century AD). The four silver Almgren type 82 fibulae must be added to the more than four dozen similar fibulae attested so far at Poiana. The supraregional analogies of the Almgren 82 fibulae from Poiana reflect, if only in part, the importance of this centre as a node of a long‑range network that connected the Empire and the steppe.

В данной работе пойдет речь о золотых полихромных украшениях, происходящих из комплексов на территории Западной Грузии (Гонио, Махо, Капандиби, Клдеети) и прилегающих областей (Лоо), а также относящейся к этой же группе подвески с изображением Минервы, которая в начале XX в. находилась в собрании ростовского коллекционера Ф.С. Романовича (она специально рассматривается в приложении к статье). По мнению О.В. Шарова, высказанному впервые в 2006 г., указанные украшения входят в группу полихромных ювелирных изделий позднеримского времени, названную им группой «Горгиппия—Лоо» и датированную в первой работе — III в. н.э., в дальнейшем — второй половиной II — первой половиной III в. н.э. Отчасти это характеристика действительно соответствует находкам из склепа II/1975 в Горгиппии (но лишь отчасти — композиции из зерни, также как и касты с зубчатым краем в их декоре не использованы), но при этом находки из Горгиппии не имеют ничего общего с указанными украшениями из Гонио, Клдеети, Капандиби и Лоо, для которых использование филиграни, как в изделиях из Горгиппии, не характерно. Соответственно, очевидно, что следует отказаться от такого необоснованного термина, который обозначает изделия, не связанные между собой. Анализ особенностей формы и декора украшений из Колхиды и прилегающих областей, а также стилистический и хронологических анализ комплексов, из которых они происходят, позволяет прийти к следующим выводам. Прямых оснований датировать III в. н.э. ни один из рассматриваемых комплексов из Колхиды и Лоо — нет. Более того, ювелирные изделия, входящие в состав кладов и погребений из Махо, Гонио, Капандиби и Лоо, вряд ли выходят за рамки I в. н.э., а часть из них с очевидностью может быть датирована еще I в. до н.э. Вместе с тем, подробный анализ бляхи из собрания Ф.С. Романовича дает основание предполагать, что образцом для подражания ювелира могла послужить монетная эмблема, которая появляется на монетах Каракаллы и Геты и, соответственно, датировать подвеску не ранее рубежа II—III вв. н.э. Таким образом, не исключено, что мастерские, появившиеся в Колхиде еще на рубеже н.э. и изготавливавшие в I в. н.э. золотые украшения в характерном стиле, с широким использованием зерни и цветных вставок, преимущественно в пластинчатых кастах с зубчатым краем, продолжали работать в указанном стиле, по крайнем мере, до начала III в. н.э., что теоретически не исключает и более позднюю датировку колхидских комплексов в рамках второй половиной II — первой половиной III в. н.э. Укажем в этой связи, что сочетание в комплексах значительно более ранних импортных драгоценных вещей (в частности, римской бронзовой, серебряной посуды, гемм) и римских и парфянских монет I—II вв., в том числе золотых, которые рассматривают в качестве дипломатических даров, в целом характерно для богатых погребений некрополей Картли, особенно Мцхеты, середины / второй половины II — начала / первой половины III в. н.э. О.В. Шаров высказал предположение, что изготовление и стиль орнаментации украшений рассматриваемой группы «изначально связаны с традициями еще Аршакидского Ирана, а часть предметов могла изготавливаться мастерами Иберии, находящейся в III в. н.э. под сильным иранским влиянием». И этот тезис вызывает серьезные сомнения, учитывая отсутствие в Иране не только близких параллелей по форме украшений, но и сочетаний композиций из зерни со вставками в кастах с зубчатым краем. Скорее рассматриваемые изделия следует рассматривать как изделия местных мастерских и не Иберии, а Колхиды (т.е. Западной Грузии) в том числе с учетом очевидных элементов и мотивов, восходящих к произведениям ювелирного искусства Колхиды более раннего времени. Обращает на себя внимание и практически полное отсутствие украшений, которые можно определить как римские. Разве что можно было бы говорить о происхождение перстня и вставки в одну из блях из Лоо. Стеклянный кубок из Лоо был вероятно изготовлен в Сирии, тогда как серебряный канфар из Капандиби находит ближайшие параллели оформлению ручек на сосудах августовского времени из Центральной Европы. Парфянские же коннотации прослеживаются лишь в случае навершия с характерными подвесками из клада в Гонио и возможно, с фаларом из этого же клада, но и они не имеют никакого отношения ни к III в. н.э., ни к мастерским Иберии.

The manifestations linked to silverware and jewelery had a discreet representation in the the public exhibitions of the Spanish industry. Their presence, in many cases, was limited to goldsmiths from Madrid and Barcelona, although on occasion masters of filigree from Salamanca also participated. The role played by these goldsmiths and workshops in the field of these contests is analyzed, as well as the opinions generated by their work and the prizes with which they were distinguished. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the significance of traditional Jewellery as a complementary element in Malay women's costumes in Malaysia. This study examines the factors associated with selecting Jewellery to complement Malay women's costumes. The approach of this study is qualitative, applying Malay aesthetic principles to understand how to design Jewellery in Malay culture. The study finds that traditional Jewellery serves multiple functions, including enhancing the wearer's beauty, expressing social status, and embodying cultural identity. The authors argue that the continued use of traditional Jewellery in Malay women's costumes reflects the enduring importance of cultural heritage and the value placed on maintaining traditional practices in contemporary Malaysian society. The authors found that traditional Jewellery serves multiple functions, including enhancing the wearer's beauty, expressing social status, and embodying cultural identity. The continued use of traditional Jewellery in Malay women's costumes reflects the enduring importance of cultural heritage and the value placed on maintaining traditional practices in contemporary Malaysian society. In conclusion, this study sheds light on the significance of traditional Jewellery in Malay women's costumes in Malaysia. It has provided a comprehensive analysis of the factors influencing the selection of Jewellery to complement Malay women's costumes. The study provides insights into contemporary Malaysia's complex interplay between tradition and modernity. [ABSTRACT FROM AUTHOR]

Copyright of Gruppe. Interaktion. Organisation: Zeitschrift für Angewandte Organisationspsychologie (GIO) is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper provides empirical evidence on the factors influencing the upsurge in the use of fashion jewellery in the Ashanti region of Ghana. An inductive research approach based on qualitative research methodology was adopted. Questionnaires and personal interviews were used to collect data from 400 respondents comprising jewellers, chiefs and traditional rulers, jewellery traders and the general public in the Ashanti Region of Ghana. Netnography was also used to gather insight from online communities regarding fashion jewellery in Ghana and factors that account for their purchase. The findings of this study showed that traditional precious jewellery has been influenced dramatically by designs of global trends. More fashion jewellery is being manufactured that combines traditional and Ghanaian “adinkra’ symbol designs with contemporary global trends. The majority (58%) of the people interviewed now focus on fashion jewellery for frequent wear. They considered jewellery generally as fashionable material pieces that are worn from casual to special occasions and from day to night and hence do not need to be precious. Product-related factors included availability, fashion innovativeness, fine finishing and societal acceptability. In terms of marketability dynamics, the study observed that price affordability and celebrity endorsements played a significant role towards the purchase intentions of respondents. Access to websites and software applications also influenced respondents’ options beyond local craftsmen and retail shops to enable them to opt for more contemporary designs inspired by global trends. The findings of this study suggest that the face of precious jewellery as a body adornment in Ghana is being influenced by several operating factors and, therefore, there is a need for players in the industries to fashion out strategies in accordance with the dimensions of these identified factors, to safeguard and preserve the rich cultural heritage of Ghana.

This Statement of Practice presents {Queer} + {Metals}, a multilayered project that engaged an international cohort of artists in a conversation about the intersection of queerness and metalsmithing. The purpose of the project was to crowdsource the question: What is queer metals? This Statement of Practice comprises three sections: an explanatory framework of the project; an interview between Rebekah Frank and Dauvit Alexander about the exhibition; and excerpts of the voices of eight participants in the project, accompanied by images of their work, who shared their thoughts with Frank during a recorded video conversation. [ABSTRACT FROM AUTHOR]

The unique round silver pendant with the motif of either an angel, an orant or a saint most probably comes from the polycultural settlement in the cadastre of Tatce, Kolín distr., in the fertile Elbe River region in central Bohemia. It was found in 2012. The pendant can be unequivocally interpreted as a Christian protective amulet. The find broadens the range of items connected to the earliest Christianity in Bohemia during the 2nd half of 9th – 11th c. [ABSTRACT FROM AUTHOR]

The Desana treasure is a remarkable assemblage of items made of gold, silver, gemstones and glasses found in north-western Italy. Most scholars agree on the fact that the core of the treasure might have belonged to a single deposit resulted from a long period of selection, accumulation and use. The treasure testifies to the evolution of goldsmiths’ art in Ostrogothic Italy and represents an extraordinary material trace of the Italian elites of the 5th–6th centuries. The Desana treasure was investigated with non-invasive instrumental analytical techniques, namely optical microscopy, UV-visible diffuse reflectance spectrophotometry with optical fibres and X-ray fluorescence spectrometry in order to record the chemical features of gemstones, coloured glasses and precious metals employed to produce the items. As for the gemstones, besides identifying typologies, data suggested India as the source for a sapphire pendant and for most of the garnets, whereas the emeralds may belong to different sources, among which Pakistan, India and Egypt. The investigation revealed the colouring agents and compositional features of the glasses, and the composition of the gold alloys. The results of the investigation highlight that the raw materials used by Late Antique Italian goldsmiths did not differ significantly from other neighbouring European and Mediterranean regions, although the garnets show some differences if compared with coeval jewels recorded north of the Alps. The dataset produced in this work complements the stylistic approach for the study of these amazing traces of the past and deepens our knowledge on the role of the Italian “Ostrogothic” jewellery in the frame of the coeval Mediterranean, Central European and Northern Pontic metalwork traditions.

Burials in lead coffins have been sporadically recorded in Viminacium (Moesia Superior). They originate from four necropolises that can be roughly classified into the period from the 2nd to the 4th century. This paper presents twelve lead coffins from recent excavations. They were found directly in a pit without construction, or in a construction of bricks. Lead coffins were often ornamented with different linear-geometric motifs, or figural depiction in one rare instance. A workshop can be expected to have existed in Viminacium for the production of lead objects for various purposes such as coffins and many other finds that have been found in large numbers. In some of the coffins, items have been preserved. These include jewellery made of gold, ceramic vessels, glass bottles, bone finds, etc. In nine of them, the skeletal remains of the deceased were completely or at least partially preserved. Included in the paper is an anthropological analysis of the skeletal remains of those deceased. Based on the anthropological analysis, it can be seen that the deceased were mostly children (six cases), while in three cases they were adults.

It is estimated that electronic and electrical equipment discarded in 2021 weigh more than 57 million tonnes, and less than one-fifth of this electronic waste (e-waste) is recycled. The Printed Circuit Boards (PCBs) are the integral component of any electronic equipment, and this is a useful type of waste due to their nearly 30% metal content. This research aims to explore the hydrometallurgy technique to recover precious metals from e-waste, and to transform the materials into wearable jewellery through developing new ways of utilising this material, specifically working with metals in solution. [ABSTRACT FROM AUTHOR]

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Haute Ecole de Joaillerie (HEJ) is the oldest jewellery school in France and lies at the heart of the institution of Parisian fine jewellery. This article examines the use of training models at the HEJ for transmitting technical and spatial expertise, resulting in fine jewellery knowledge that is standardized, evaluated and differentiated on a national and local scale. It reveals how these models connect students with the historic roots of the jewellery industry in Paris, namely the pre-modern craft guilds of goldsmiths, and also with the jewellery houses of the Place Vendôme, which emerged in the nineteenth century and are today the defining feature of Parisian fine jewellery. It is argued that the training models act as a lynchpin, linking Parisian fine jewellery across and within generations. This article contributes to literature on the growth and evolution of Parisian craft and design industries that remain recognizably identifiable with the city and their history in the face of the incursion of global markets. [ABSTRACT FROM AUTHOR]

This study defines and characterises the ‘Baldock’ group of copper-alloy penannular torcs, which were worn in south-eastern Britain during the 1st century AD. Torcs had an important local pre-Roman pedigree, but this new regional style of dress seems to have emerged around the time of the Claudian invasion and was worn in the heart of the new Roman province of Britannia. The significance of these torcs is explored, focusing on the new social contexts in which they circulated, their connections to new kinds of provincial identities, and the ways in which torcs were reimagined and transformed within Romano-British society. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

Two Roman brooches from the north-eastern slopes of the Palatine Hill in Rome demonstrate the different ways that personal identity was expressed, for example, through the choice of objects from the past or by a marked peculiarity in shape and decoration. One brooch provides an opportunity to reflect on the concept of personal adornment acquiring particular meanings and values over time, potentially as a family heirloom. A second brooch, characterized by unusual shape and decoration, provides an invitation to further explore the relationship between the expression of personal identity and style. This paper, therefore, focuses on the potential of these objects to reveal new information about the relationship between objects of adornment and personal identity. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

This article suggests that more detailed analysis must be done when using artistic sources, in particular, funerary monuments, as evidence for medieval dress. Using archaeological, documentary, and literary evidence for jewellery in England in the fourteenth and fifteenth centuries, it asks why what seems to be a popular accessory was very rarely depicted on sculpted effigies and monumental brasses. Assumptions from just the visual evidence would conclude that brooches in particular were not a common piece of jewellery for noble women, but this does not correspond with the material evidence. The focus of this article, therefore, is on using an interdisciplinary approach to look at monuments as a source in their own right rather than as just a general mirror of contemporary fashion. By looking at three case studies, the article shows that deeper analysis of specific monuments can put them into religious, political, and historical context and provide information about the women depicted on them and the significance of accessories, such as brooches. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

Roman jewellery is often seen as a clear marker of wealth and luxury. While it is often classified and analysed as a single class and with an emphasis on pieces composed of gold and other precious materials, it is only when we start to look at the differences between individual objects that we can get a more nuanced understanding of this material culture and its role in Roman society and culture. Undoubtedly there was a market for comparable forms of jewellery for women from different socio-economic backgrounds to display similar aspects of their identities but within their own budgets (e.g., young, (presumably) married mothers-to-be). It is only by considering the spectrum of luxury that we can highlight how differences in quality and design reveal important choices behind the use of particular items of jewellery or packages of personal adornment. In other words, we should be cautious of grouping all jewellery together and under the simple label of ‘luxury.’ Not all gold jewellery, for example, was created equal. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

Between 1934 and 1936, the archaeologist Antonio Floriano directed excavations in the city of Mérida, the ancient colony Augusta Emerita. Some years later, once the Civil War had ended, he published a good deal of the finds. These included the explorations conducted in the Oriental Necropolis of the city, an area whose extent he established and considered as a whole for the first time. Grave-goods from this cemetery were recorded, including the so-called Grave 10 of Pontezuelas. The grave is pinpointed on the published excavation plan and the grave-goods listed, but no mention is made of the context of their find. This highly interesting assemblage is particularly opulent due to the gold jewellery it contains. Especially noteworthy is a bracelet combining pairs of gold hemispheres—in the style of well-known examples from Pompeii but technically very dissimilar—with jet beads, some of which follow the model of the gold pieces. Other pieces consist of a ring with a highly original sandal-shaped bezel whose closest reference is to sandal-shaped fibulae known in the provinces of the limes, from Britannia to Pannonia; several hollow pieces; an earring; and a brooch. Various considerations point to the broad timespan of the types of jewellery in the assemblage and could indicate that they represent family heirlooms, brought together over a lengthy period of time (perhaps spanning over a century), passed on from generation to generation. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

This article focuses on two variations from the Muslim patriarchal binary system of females and males: mukhannathūn (those who display female behaviour and appearance while having male sex organs) and khuntha (those with a lack of or confused sex organs). These two categories were tolerated and represent an extension of the normative expected sex-gender spectrum of Islam. Personal appearance, in its broad meaning, is used as a tool for analysing the social-religious existence of mukhannathūn and khuntha within the community. The article concludes that jurists imposed a whole set of regulations, mixing male and female appearance, for the purpose of defining and differentiating these groups. These laws also enabled the religious and social existence of mukhannathūn and khuntha within Muslim communities. The patriarchal system preserved its power and protected itself while widening the binary male-female spectrum to include variations such as medial sex. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

From the bars and inns (thermopolia, cauponae, and hospitia) of Roman Pompeii, destroyed in the eruption of Vesuvius in AD 79, a variety of different types of jewellery has been found. The bars have been excavated both inside the perimeter of the ancient city and in its harbour suburb. In particular, the complete gold parure found in a river-side caupona at Moregine (building B), featuring body-chains, bracelets, and anklets, gives rise to the hypothesis that this kind of outfit of abundant gold jewellery, plausibly worn on the nude body, may have been less typically owned by elite matrons and more distinctive of sub-elite women working in bars, perhaps even connect-ed with sex work. This hypothesis is tested by questioning the multiple multi-sensorial ways in which jewellery could attract attention to the wearer’s body and signal non-elite status. Among the more ephemeral and rarely considered features are the visibility of the jewellery, based on its dimensions, material, placement on intimate areas of the body, its mobility, and perhaps also the tinkling sounds produced by its movement. As a conclusion, there seems to be a connection between the abundant use of jewellery of high visual impact, acoustic qualities referring to dance and the hospitality business in the inns of Pompeii. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

The Etruscans produced some of the most refined and elaborate pieces of jewellery in the ancient Mediterranean. While Etruscan jewellery is often interpreted as a sign of luxury, and prestige or as a means of legitimisation, the aim of this article is to show the communicative potential and function of adornment. In particular, what was the aim of such adornment in ritual performances and was there a gendered distinction between the jewellery worn by dancers? Did they have a sensory impact in dance? Based on visual evidence of dance from central Etruria from the sixth and fifth centuries BC, this article will focus on the sound these items could have produced. It appears that belts, bracelets, necklaces, earrings, and diadems added to the male and female body highlighted, shaped, and performed gender, identity, and status; however, they could also blur, transform, and reverse them.

This article considers the Roman body chain (catena), which comprises two long lengths of woven gold chain worn crisscrossing the torso. Roman illustrations of women wearing catenae demonstrate that the form carried strongly erotic connotations relating to the goddess Venus and female sensuality. A small corpus of preserved body chains from the Vesuvian region testifies to their actual use by women in the first centuries BC and AD. This study examines the status of the women who wore such jewellery, which combined clear economic expense with erotic messaging. In opposition to claims that the sexual nature of body chains signals their association with prostitutes, it is argued here that visual and textual sources contemporaneous with the Vesuvian chains point to women of “respectable” social categories having both the freedom and incentive to express a confident sexual identity. Important archaeological evidence offers further indications for the ownership and use of catenae by Roman women of varying status. The potential meanings and motivations underlying the shared use of this symbolic form of adornment are also addressed. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

The replication of conventionalised motifs on engraved gemstones of the Roman imperial period has often prompted their dismissal by scholars who deem them too frivolous, too plentiful, and too small to be taken seriously as image-bearing objects, or else prioritise their workaday capacity as seals. Foregrounding gems’ function as personal adornment, this paper uses examples excavated from Herculaneum to argue that the repetition of certain images was, in fact, central to their agency as markers of identity, signalling the gender, age, and in some cases, social status of their wearer through the propagation of easily recognisable visual paradigms. Where other studies have emphasised the ways in which Roman jewellery communicated identity publicly, this paper also brings the material properties of gemstones into play to consider alternative, more intimate modes of viewing and suggest how engraved gems enabled the private self-bolstering and imaginative negotiation of identity as much as – or perhaps even instead of – its outward expression. On cover: Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900

This paper examines the different early attestations of the name of the broad collar, wesekh. The earlier studies on this collar, based on the Berlin dictionary, revealed that the name of this broad collar is first attested in the Middle Kingdom. However, studies by C. Ziegler[1] and E. Brovarski,[2] discuss an earlier attestation of the name in the chapel of Akhethotep (Louvre E 10958 [A]) of the Fifth Dynasty. Nevertheless, they did not track the former points of view regarding the name of the broad collar, nor did they discuss the other attestations,[3] as these were not their primary focus. This paper presents different perspectives on the name of the wesekh-collar, examining the various attestations in their contexts. It explores the other forms of writing the name, its determinative, and whether the way of writing the name differs from one cemetery to another. It also evaluates whether nbw and xAt indicate the wesekh-collar and looks at the relationship between the word and the image.

Ticaret, toplumsal hayatta bireylerin ilişkilerini yansıtmakta ve toplumun gelişim süreçleri hakkında bilgiler vermektedir. Ticari hayata göre o toplumun sosyo-ekonomik, sosyo-kültürel yapısı ve buna göre hukuki gelişmişlikleri hakkında bilgi edinilmektedir. Bu nedenle ticaret hukukuyla ilgili bilinen ve tatbik edilen hususların yeniden gözden geçirilmesi zaruridir. İşte bu kapsamda elektronik ticaret oldukça önemli bir örnek olarak hukukçuların önünde durmaktadır. Elektronik ortamda yapılan alım-satım işlemlerini ifade eden elektronik ticaret, modern dönemin vazgeçilmez alışveriş şekillerindendir. Kısa adıyla e-ticaret, internetin yaygın kullanımına paralel olarak bireylerin ihtiyaç duyduğu birçok şeyin temininde aktif şekilde kullanılmaktadır. Günlük hayatta kullanılacak elektronik eşyalar, giyim, gıda ve temizlik ürünlerinin yanı sıra yatırım aracı ve ziynet eşyası şeklindeki menkul kıymetlerin elektronik ortamda satışa sunulduğu görülmektedir. E-ticaret; alışveriş taraflarının sanal ortamda bir araya gelmeleri, akdin konusunun ve bedelinin taraflara belirli bir süre sonra ulaşması gibi yüz yüze yapılan alışverişlere göre oldukça farklı bir yapıya sahiptir. Özü itibariyle kıymetli olan altının e-ticarete konu edilmesi diğer menkul ve gayrimenkul eşyalara göre daha geç bir döneme denk gelmektedir. Tabiatıyla e-ticaretin daha işlevsel ve güvenilir yapı halini alması altının bu mecra aracılığıyla satışa sunulmasını kolaylaştırmaktadır. Dolayısıyla Müslümanların gündemine hem e-ticaretin yapısından kaynaklanan hem de altının fıkhî mahiyeti kaynaklı problemler gelmiştir. Bu problemlerin başında altının hukuki mahiyetinin para olması ve sarf akdi çerçevesinde mübadele edilme zarureti gelmektedir. Klasik dönem fakihlerinin cumhuru ve çağdaş dönem İslam hukukçularının çoğunluğunun bu kanaati çalışmada benimsenmiş ve buna göre değerlendirmeler yapılmıştır. Bu kanaate göre elektronik ortamdaki altın işlemlerinde sarf akdinin kurallarına bağlı kalmak ise problemli görülmektedir. İşte bu temel hareket noktası ve detaylardaki farklı görüşler çerçevesinde araştırmamız altın sektörünün elektronik ticaretlerini değerlendirmeyi amaçlamıştır. Kuyumcular yahut daha genel adıyla altın sektörü yüz yüze altın ticaretlerinin yanı sıra sanal ortamda da satış yapmayı istemektedirler. Bu kapsamda kendi sosyal medya hesapları, web siteleri aracılığıyla satış yaptıkları gibi pazaryeri adıyla bilinen birçok ürünün aynı anda satışa sunulduğu aracı platformları da kullanmaktadırlar. Satışa konu edilen varlık altın olduğu için kendi iç yapısı içerisinde farklı uygulamaların olduğu görülmektedir. İşte bu farklı uygulamalar çerçevesinde sarf akdinin şartlarının ifa edilip edilmediği bu çalışmada konu edilmiştir. Ayrıca fıkhî değerlendirmelerde önem arz eden bir diğer husus müşterinin altın satıcısı firmaya yaptığı ödemelerde kullanılan yöntemler ve firmanın satışa konu olan altın ürünlerini müşteriye teslim şekilleridir. İşte araştırmamızda bu detayların tamamı beyan edilmiştir. Günümüzde altın tezgahüstü, para ve sermaye piyasalarında finansal bir unsur olarak yer almaktadır. Çalışmamızın başlığında ifade edilen “altın sektörü” tabiri, tezgahüstü piyasalarda her çeşit altının ticaretini yapan üreticileri (madenler, rafineriler, darphane ve atölyeciler), aracıları (toptancılar ve çantacılar) ve perakende altın satışı yapan kuyumcuları/sarrafları kapsamaktadır. Bu manada elektronik ticaretle altın satışı yapan kuruluşların işlemleri, altının üretim aşamalarıyla ve bu aşamalarda gerçekleştirilen mübadeleler de dikkate alınmak suretiyle çalışmaya dâhil edilecektir. Ayrıca para ve sermaye piyasalarındaki altın işlemleri doğrudan elektronik altın ticareti olarak nitelenemeyeceği için kapsam dışı tutulacaktır. Ancak tezgahüstü piyasalarla finansal piyasa unsurlarının ortak işlemlerinden Kuyumcu Altın Değerleme Sistemi (KAD-SİS) özellikle incelenmiştir. Çalışmaya zemin teşkil edecek kaynaklar sistemin işleyişi ve fıkhî değerlendirmesiyle ilgili olmak üzere iki kısma ayrılmaktadır. İşleyiş ile ilgili olmak üzere sektör temsilcilerinin e-ticaret web sayfaları ve yüz yüze yapılan görüşmelerden bilgiler elde edilmiştir. Fıkhî manada ise bir mezhep sistematiğinden ziyade farklı mezheplerden istifade edilmiştir. İşleyiş ile ilgili kaynaklar kendi içlerinde mukayese edilmiş, elde edilen bilgilerin sağlaması yapılmıştır. Böylelikle fıkhî değerlendirmelerin isabetli bir şekilde ortaya çıkması hedeflenmiştir. Bu manada hem sektör temsilcilerinden hem de e-ticaret yoluyla altın temini yoluna giden ve dinî hassasiyeti olan mükelleflere yol gösterilmek amaçlanmıştır. Neticede e-ticaret ve KAD-SİS gibi modern araçlarla yapılan altın mübadelelerinin caiz olan ve olmayan şekilleri araştırmacılara sunulmuştur.

The Desana treasure is a remarkable assemblage of items made of gold, silver, gemstones and glasses found in north-western Italy. Most scholars agree on the fact that the core of the treasure might have belonged to a single deposit resulted from a long period of selection, accumulation and use. The treasure testifies to the evolution of goldsmiths' art in Ostrogothic Italy and represents an extraordinary material trace of the Italian elites of the 5th–6th centuries. The Desana treasure was investigated with non-invasive instrumental analytical techniques, namely optical microscopy, UV-visible diffuse reflectance spectrophotometry with optical fibres and X-ray fluorescence spectrometry in order to record the chemical features of gemstones, coloured glasses and precious metals employed to produce the items. As for the gemstones, besides identifying typologies, data suggested India as the source for a sapphire pendant and for most of the garnets, whereas the emeralds may belong to different sources, among which Pakistan, India and Egypt. The investigation revealed the colouring agents and compositional features of the glasses, and the composition of the gold alloys. The results of the investigation highlight that the raw materials used by Late Antique Italian goldsmiths did not differ significantly from other neighbouring European and Mediterranean regions, although the garnets show some differences if compared with coeval jewels recorded north of the Alps. The dataset produced in this work complements the stylistic approach for the study of these amazing traces of the past and deepens our knowledge on the role of the Italian "Ostrogothic" jewellery in the frame of the coeval Mediterranean, Central European and Northern Pontic metalwork traditions. [ABSTRACT FROM AUTHOR]

The reconstruction of the trade routes along which garnets reached Europe in the early Middle Ages demonstrates the persistence of long-distance trade after the fall of the Western Roman Empire. Early medieval garnet jewellery from Italy and the presence of lapidary workshops are important evidence for understanding the dynamics of this commerce but are systematically overlooked. Chemical trace-element analysis (LA-ICP-MS) of loose and inset garnets and glass inlays from burials in sixth–seventh-century Lombardy has identified South Asian and Bohemian garnets together with Egyptian glass. This combination shows that the long-distance trade routes crossing the Peninsula and the Alpine passes played a key role in the European market for garnets, significantly modifying the current model of the Mediterranean garnet trade and shedding new light on the character of the elites who emerged in Italy during the Migration period. [ABSTRACT FROM AUTHOR]