The Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade led to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. An example of this is the Cheapside Hoard, the stock of a jeweller hidden in London during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghan lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings.[32] Notable among merchants of the period was Jean-Baptiste Tavernier, who brought the precursor stone of the Hope Diamond to France in the 1660s.
When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleon’s rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch, and a diamond necklace. Both of Napoleon’s wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers, a practice which continues to this day.
Romanticism[edit]
Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public’s fascination with the treasures being discovered through the birth of modern archaeology and a fascination with Medieval and Renaissance art. Changing social conditions and the onset of the Industrial Revolution also led to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes led to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work. One such artist was the French goldsmith François-Désiré Froment-Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert, and it allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one.[33]
In the United States, this period saw the founding in 1837 of Tiffany & Co. by Charles Lewis Tiffany. Tiffany's put the United States on the world map in terms of jewellery and gained fame creating dazzling commissions for people such as the wife of Abraham Lincoln. Later, it would gain popular notoriety as the setting of the film Breakfast at Tiffany's. In France, Pierre Cartier founded Cartier SA in 1847, while 1884 saw the founding of Bulgari in Italy. The modern production studio had been born and was a step away from the former dominance of individual craftsmen and patronage.
This period also saw the first major collaboration between East and West. Collaboration in Pforzheim between German and Japanese artists led to Shakudō plaques set into Filigree frames being created by the Stoeffler firm in 1885).[34] Perhaps the grand finalé – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith’s art.
18th Century / Romanticism/ Renaissance[edit]
Many whimsical fashions were introduced in the extravagant eighteenth century. Cameos that were used in connection with jewellery were the attractive trinkets along with many of the small objects such as brooches, ear-rings and scarf-pins. Some of the necklets were made of several pieces joined with the gold chains were in and bracelets were also made sometimes to match the necklet and the brooch. At the end of the Century the jewellery with cut steel intermixed with large crystals was introduced by an Englishman, Matthew Boulton of Birmingham.[35]
Art Nouveau[edit]
In the 1890s, jewellers began to explore the potential of the growing Art Nouveau style and the closely related German Jugendstil, British (and to some extent American) Arts and Crafts Movement, Catalan Modernisme, Austro-Hungarian Sezession, Italian "Liberty", etc.
Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonné, and plique-à-jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures, and the female silhouette.
René Lalique, working for the Paris shop of Samuel Bing, was recognised by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstätte provided perhaps the most significant input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co. and the British arts & crafts movement of Charles Robert Ashbeecontributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself. Lalique's dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognisable design feature.
The end of World War I once again changed public attitudes, and a more sober style developed.[36]
Art Deco[edit]
Growing political tensions, the after-effects of the war, and a reaction against the perceived decadence of the turn of the 20th century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of "no barriers between artists and craftsmen" led to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminium were first used in jewellery, and of note are the chromed pendants of Russian-born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself. In the West, this period saw the reinvention of granulation by the German Elizabeth Treskow, although development of the re-invention has continued into the 1990s. It is based on the basic shapes.
Asia[edit]
In Asia, the Indian subcontinent has the longest continuous legacy of jewellery making anywhere[citation needed], with a history of over 5,000 years.[37] One of the first to start jewellery making were the peoples of the Indus Valley Civilization, in what is now predominately modern-day Pakistan and part of northern and western India. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.
China[edit]
The Chinese used silver in their jewellery more than gold. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, jade was preferred over any other stone. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability, and beauty.[5] The first jade pieces were very simple, but as time progressed, more complex designs evolved. Jade rings from between the 4th and 7th centuries BC show evidence of having been worked with a compound milling machine, hundreds of years before the first mention of such equipment in the west.[38]
In China, the most uncommon piece of jewellery is the earring, which was worn neither by men nor women.[citation needed] Amulets were common, often with a Chinese symbol or dragon. Dragons, Chinese symbols, and phoenixes were frequently depicted on jewellery designs.
The Chinese often placed their jewellery in their graves. Most Chinese graves found by archaeologists contain decorative jewellery.[39]
Indian subcontinent[edit]
The Indian subcontinent (encompassing India, Pakistan and other countries of South Asia) has a long jewellery history, which went through various changes through cultural influence and politics for more than 5,000–8,000 years. Because India had an abundant supply of precious metals and gems, it prospered financially through export and exchange with other countries. While European traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5,000 years.[37] One of the first to start jewellery making were the peoples of the Indus Valley Civilization (encompassing present-day Pakistan and north and northwest India). By 1500 BC, the peoples of the Indus Valley were creating gold earrings and necklaces, bead necklaces, and metallic bangles. Before 2100 BC, prior to the period when metals were widely used, the largest jewellery trade in the Indus Valley region was the bead trade. Beads in the Indus Valley were made using simple techniques. First, a bead maker would need a rough stone, which would be bought from an eastern stone trader. The stone would then be placed into a hot oven where it would be heated until it turned deep red, a colour highly prized by people of the Indus Valley. The red stone would then be chipped to the right size and a hole bored through it with primitive drills. The beads were then polished. Some beads were also painted with designs. This art form was often passed down through the family. Children of bead makers often learned how to work beads from a young age. Persian style also played a big role in India’s jewellery. Each stone had its own characteristics related to Hinduism.
Jewellery in the Indus Valley was worn predominantly by females, who wore numerous clay or shell bracelets on their wrists. They were often shaped like doughnuts and painted black. Over time, clay bangles were discarded for more durable ones. In present-day India, bangles are made out of metal or glass.[40] Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers, and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and women’s hair. The beads were about one millimetre long.
A female skeleton (presently on display at the National Museum, New Delhi, India) wears a carlinean bangle (bracelet) on her left hand. Kada is a special kind of bracelet and is widely popular in Indian culture. They symbolizes animals like peacock, elephant,[41] etc.
According to Hindu belief, gold and silver are considered as sacred metals. Gold is symbolic of the warm sun, while silver suggests the cool moon. Both are the quintessential metals of Indian jewellery. Pure gold does not oxidise or corrode with time, which is why Hindu tradition associates gold with immortality. Gold imagery occurs frequently in ancient Indian literature. In the Vedic Hindu belief of cosmological creation, the source of physical and spiritual human life originated in and evolved from a golden womb (hiranyagarbha) or egg (hiranyanda), a metaphor of the sun, whose light rises from the primordial waters.[42]
Jewellery had great status with India’s royalty; it was so powerful that they established laws, limiting wearing of jewellery to royalty. Only royalty and a few others to whom they granted permission could wear gold ornaments on their feet. This would normally be considered breaking the appreciation of the sacred metals. Even though the majority of the Indian population wore jewellery, Maharajas and people related to royalty had a deeper connection with jewellery. The Maharaja's role was so important that the Hindu philosophers identified him as central to the smooth working of the world. He was considered as a divine being, a deity in human form, whose duty was to uphold and protect dharma, the moral order of the universe.[43]
Navaratna (nine gems)is a powerful jewel frequently worn by a Maharaja (Emperor). It is an amulet, which comprises diamond, pearl, ruby, sapphire, emerald, topaz, cat’s eye, coral, and hyacinth (red zircon). Each of these stones is associated with a celestial deity, represented the totality of the Hindu universe when all nine gems are together. The diamond is the most powerful gem among the nine stones. There were various cuts for the gemstone. Indian Kings bought gemstones privately from the sellers. Maharaja and other royal family members value gem as Hindu God. They exchanged gems with people to whom they were very close, especially the royal family members and other intimate allies. "Only the emperor himself, his intimate relations, and select members of his entourage were permitted to wear royal turban ornament. As the empire matured, differing styles of ornament acquired the generic name of sarpech, from sar or sir, meaning head, and pech, meaning fastener."
India was the first country to mine diamonds, with some mines dating back to 296 BC. India traded the diamonds, realising their valuable qualities. Historically, diamonds have been given to retain or regain a lover’s or ruler’s lost favour, as symbols of tribute, or as an expression of fidelity in exchange for concessions and protection. Mughal emperors and Kings used the diamonds as a means of assuring their immortality by having their names and wordly titles inscribed upon them. Moreover, it has played and continues to play a pivotal role in Indian social, political, economic, and religious event, as it often has done elsewhere. In Indian history, diamonds have been used to acquire military equipment, finance wars, foment revolutions, and tempt defections. They have contributed to the abdication or the decapitation of potentates. They have been used to murder a representative of the dominating power by lacing his food with crushed diamond. Indian diamonds have been used as security to finance large loans needed to buttress politically or economically tottering regimes. Victorious military heroes have been honoured by rewards of diamonds and also have been used as ransom payment for release from imprisonment or abduction.[44] Today, many of the jewellery designs and traditions are used, and jewellery is commonplace in Indian ceremonies and weddings.[39]
