CITYSCAPE - BODYSCAPE (original) (raw)

Materiality, body and culture : contemporary jewellery

2017

Art Bulletin of Nationalmuseum, Stockholm, is published with generous support from the Friends of the Nationalmuseum. Nationalmuseum collaborates with Svenska Dagbladet and Grand Hôtel Stockholm. We would also like to thank FCB Fältman & Malmén.

M. Blečić Kavur 2022 - Inside fashion fusion: Fibulae from Crikvenica

Roman Pottery and Glass Manufactures Production and trade in the Adriatic region and beyond, Archaeopress Roman Archaeology, 2022

During the archaeological excavations of the figlina at the Igralište site in Crikvenica, among other things, seven very well-preserved bronze fibulae were discovered, and are today accompanied by an older find of a fibula from the Kaštel site. According to their formal features, they belong to two groups — fibulae of the Middle and Late La Tène schemes are significant forms of the Late La Tène cultural traditions, while the cast fibulae of Aucissa type, strongly profiled fibulae and those with the multiply segmented bow are characteristic elements of Roman provincial culture. Their morphological and stylistic features, as well as the adequate context of their discovery, allow us a precise typological classification, chronological determination and cultural interpretation, that is the basis of this discussion. Considered within the material culture of Kvarner and the wider northern Adriatic region, the second half of the 1st century BCE and the course of the 1st century AD, they represent valuable first finds in the archaeological record of the area, and some of them, are presented here for the first time. Their presence is associated with cosmopolitan culture and various identities related with the early establishment and greatest flourishing of this significant and first explored ceramic workshop in the province of Dalmatia belonging to Sextus M(e/u)tillius Maximus in Ad Turres.

Late Classical Representations of Jewelry: Identifying Costume Trends in Etrusco-Italic Art

Etruscan Studies, 2010

truscan jewelry of the late 5th and 4th centuries B.C. has several distinctive characteristics. 1 It highlights the reflective properties of gold by contrasting smooth convex and concave components with little surface decoration to detract from the gleam of the metal. More decorative ornaments, usually necklace pendants, were made using engraved molds to create figural scenes in high relief rather than by adding filigree or granulation to the surface of the sheet gold. A mid 4th century tomb group from Vulci, now in the Vatican, is representative of the forms in vogue during this era. 2 (Fig. 1) This jewelry includes two gold leaf crowns, one of laurel, the other of oak. The gold leaves were set in flat, overlapping rows and the headdress would have tied closely around the head, creating a wide, gleaming band. A pair of horseshoe or a grappolo earrings from the tomb illustrate the impressive size of some late Classical ornaments; these are 7.6 cm long. Here, the smooth convex boss contrasts with the alternating rows of plain and embossed bands on the upper disk and the cluster of concave hemispheres below. Several pendants formed two different necklaces, one made up of eleven alternating rectangular and oval pendants, the other using the three large (6.5 cm) round pendants. All of the pendants had figural decoration in relief: sphinxes and a bejeweled frontal female head on the rectangular and oval pendants respectively, a divine group of Aphrodite, Eros and Adonis in high relief on two of the round pendants, and Helios driving a winged quadriga on the third. The crown, large earrings and the three large round pendants, in addition to the other pieces, would have created a notable impression simply because of the sheer amount of reflective surface the set produces. Less apparent would be the fact that, although the pieces themselves are sizeable, their sheet gold construction makes them quite lightweight. There are two practical benefits to this type of jewelry manufacture; the objects are easy to wear and they required relatively little gold even for large pieces. In short, Late Classical Etruscan jewelry can be characterized as golden, smooth, displaying myth as its main decorative element, and perhaps even economical. 3-29