What is contemporary folk goldsmithing, jewelry, and mosyazhnytstvo? In which social networks do their traditional codes, man-made essence, and original techniques find a home? It is equally important to find out the challenges posed by new technological possibilities and, consequently, new aesthetics. In particular, the impact of digital technologies on design in the field of ethnic jewelry. The current exhibitions and art projects that have been implemented in Ukraine over the past decade are a unique opportunity to bring together artists, observe the interactions with contemporary art schools and art centers, and analyze existing author's interpretations. This dialog box allows us to trace the evolution of jewelry in the interweaving of sectoral connections between historical crafts, folk and professional art, and design.
Shcherbina A. "Solstice", 2012
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
Bugaychenko O. Dukachi and author's necklace, 2009
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
Modern professional interpretations of ethnostyle are demonstrated by artists-educators A. Sterniuk, O. Ivasiuta, V. Horodetskyi, and jewelers O. Miroshnikov, A. Shcherbyna, and O. Hykova.
Voloshchak V. Dukachi. 1988-1991
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
During the period of 2018-2023, “the Encyclopedia of Art Metal” in cooperation with Elite-Expo organized five unique projects of exhibitions of author's jewelry, accessories and enamel: “Samorodok” (2018), “Quadra-mini-metal in Lviv” (2019), “Jewelry Note of Bukovyna” (2020), “Ethnic Jewelry and Accessories” (2021), “Forged by Freedom” (2023), in which more than 100 authors took part.
Sholomiy V. Pendant, 1996
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
Alongside the above cohort, the phenomenon of ethnic jewelry is widely developing, which is mostly amateurish in nature. In this field, it is not necessary to have the skills of a jeweler, foundry worker, or enameller. It is enough to learn how to assemble jewelry from the many modules of Venetian glass, metal elements, and beads offered by the global market. Representatives of the mass phenomenon of handmade jewelry often reach the level of a recognizable author's style by exploring little-known traditional regional segments, as well as mastering new 3D modeling technologies from the field of digital design. The main aesthetic problem of such creative practices is to reach a compromise between the unique spiritual content of the author's handmade jewelry and the aesthetics of the standard of replicated samples.
Sholomiy V. Pendants, 1996
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
The divinely inspired attitude to metal crafts and the constant use of jewelry not only in everyday life but also in rituals and ceremonies have led to their unique nature. Jewelry (in ukrainian “when beautiful”, “complementing beauty”) as a work of decorative and applied art has always influenced and still influences a person, his or her emotional and spiritual state, and expresses the aesthetic preferences of nations and ethnic groups. They “tell” about the history, religion, and culture of different peoples in the language of forms, signs, colors, and ornaments many millennia before the emergence of writing. From those ancient times to the present day, handmade, masterful mastery of shaping and decorating techniques have been the defining features of jewelry's artistic qualities. Over the millennia, jewelry creation has evolved into a number of related crafts.
Beliberdin V. Pendant
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
GoldSmithingis an artistic craft; the manufacture of jewelry, household and religious objects from precious metals (gold, silver, platinum), often combined with other valuable materials (gems, pearls, ivory, amber, enamel, colored glass). Various goldsmithing techniques were used: forging, casting, engraving, minting, filigree, etc. Goldsmithing originated in the prehistoric era and reached a high level of development early on. At the stage of primitive societies on all continents, thin plates were forged from gold nuggets, from which jewelry was cut and molded.
Volsky S. "Nefertiti", 2005
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
JEWELRY ART (from German juwel or Dutch. juweel – gemstone; from English jewelry, German goldschmiedekunst) is a type of decorative and applied art: the manufacture of artistic jewelry, valuable objects of worship, household utensils, weapons and other products made of precious metals (gold, silver), often in combination with precious and semi-precious stones, pearls, mother-of-pearl, amber, bone, glass, etc. Jewelry art also includes artistic products made of precious metals (bronze, copper, nickel, titanium, steel). The main techniques used are forging, casting, minting, embossing, carving, engraving, filigree, grit, darkening, enamel, inlay, etching, and grinding.
Jewelry is one of the oldest forms of decorative and applied art. Initially, jewelry had a symbolic and magical meaning, serving as amulets and talismans. Given the fact that metal processing and mining have long been accompanied by considerable difficulties, jewelry art has been separated into a special field of mostly professional creativity in most nations. In this aspect, in addition to professional (urban) jewelry, an interesting phenomenon is purely folk (rural) jewelry (goldsmithing) in eastern Ukraine and mosyazhnytstvo in the Hutsul region. Jewelry art in Ukraine has long been called goldsmithing. Both terms are commonly used in contemporary Ukrainian art research (see GOLDSMITHING).
Works by Olena Kulchytska, 1905-1907
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
These industries are experiencing a decline and are somewhat being revived in Art Nouveau art, mainly in small jewelry, combined with precious stones, pearls, etc. In particular, Olena Kulchytska (1877-1967) realized the revision of traditional ideas about jewelry in the mainstream of the new style in her work. The decor and shapes of the jewelry items made by the artist (brooches, pendants, belts, enamel plaques, and jewelry boxes) show a deep study and creative interpretation of the forms, ornaments, and color of Hutsul folk art.
The development of Ukrainian enamel art in the 20th century was greatly influenced by the creative and professional activities of Mariia Dolnytska (1895-1974), a member of the Association of Ukrainian Independent Artists. After graduating from the Vienna Higher School of Art and Industry, M. Dolnytska actively exhibited her easel and even monumental works in enamel at many exhibitions in European countries and the United States. In 1937, M. Dolnytska held a course in artistic enamel technology in Lviv, which was attended by more than 60 artists, including Y. Muzyka, M. Butovych, and M. Osinchuk.
The creative activity in the field of enamel art of the famous Lviv artist Yaroslava Muzyka (1894-1973) was extremely fruitful and unsurpassed in terms of artistic qualities. Her works (plaques, boxes, jewelry, etc.) reflected the concepts of the Boichukist artists, creative reinterpretation of pagan symbols, and trends in modernist art.
Zgardas
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
MOSYAZHNYTSTVO (from Polish mosiądz, Czech mosaz, Slavic mosadz - yellow copper, brass) is a kind of artistic processing of metals (copper, brass, bronze), as well as the manufacture of various products from these metals. Mosaic art dates back to the times of Ancient Egypt, and objects were found in Etruscan, Hittite, Finnish, and Old Slavic burials.
The first information about mosyazhnytstvo on the territory of Ukraine is associated with the Trypillian culture. Mosyazhnytstvo reached a high level in Kievan Rus. Since the 17th century, it has been most developed in the Eastern Carpathians, particularly in the folk art of the Hutsuls.
The term mosyazhnytstvo is a folk term. In the Hutsul region, mosyazh was an alloy of non-ferrous metals, which included copper, tin, and antimony. This alloy was used to make various crafts and jewelry. However, the term was generally understood to mean artistic processing of non-ferrous metals and the manufacture of various household items from them. Folk artists used primitive techniques to cast and decorate various household items (knives, flints, scales), women's jewelry, clothing, Hutsul hatchets, etc. with minting, engraving, and metal inlay.
Zgarda Crosses
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
The first known products of mosyazhnytstvo in the Eastern Carpathians date back to the 17th century. In the second half of the 18th and early 19th centuries, the Oprishky movement began in the Eastern Carpathians, and mosyazhnyky produced weapons, one of the most common types of which was a steel-bladed hatchet stick. In the 2nd half of the 19th century, mosyazhnyky began to work for profit, selling jewelry and other products at fairs or to buyers.
In the first half of the 19th century, artistic products made of colored metals were made of brass and copper, and from the 2nd half of the 19th century - of nickel-plated brass, which is easy to process.
Chepragas
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
The main centers of mosyazhnytstvo production were the villages of Richka, Brusturiv, and Putyla. The most widespread products of the mosyazhnyky at that time were: decorations for harnesses, tabivki, hatchets, cheprags, crosses, buckles, decoration of Putyla pipes, etc. mosyazhnytstvo was hereditary and passed down from generation to generation, resulting in the formation of entire families of mosyazhnyky: Dudchaks from the village of Brusturiv, Medvidchuks from the village of Richka, and Fediuks from the village of Dykhtynets.
During the World War I, mosyazhnytstvo in the Eastern Carpathians began to collapse. In the following period, the number of folk artists decreased from year to year; at the end of 1935, there were only 40 mosyazhnyky, and in 1938, artistic products from non-ferrous metals were made by craftsmen from only five villages: Richka, Brusturiv, Yavoriv, Krasnoilove, and Zhabie. The assortment of products of that time included shell cutters, knives for cutting paper, buckles, sticks, stirrups, seals, rings, clasps, etc. Products were sold at fairs and through buyers in cities and resort areas.
Hutsul zgarda. Kittsy Ethnographic Museum, Austria
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
In the 1940s, artistic and industrial artels were created that produced various items: writing utensils, paper cutters, rings, bracelets, brooches, buckles, and other small metal products.
After the World War II, the Hutsulshchyna artel in Kosiv (Ivano-Frankivsk oblast) with two branches in the villages of Richka and Brusturiv, which united folk metalworkers in addition to wood carvers, worked creatively.
In the middle of the 20th century, Hutsul mosyazhnyky I. Dudchak, M. and V. Medvidchuk, V. Fediuk, and others actively developed folk traditions in their works. mosyazhnytstvo products were made at the factory of artistic products “Hutsulshchyna” and its branches in the villages of Richka and Brusturiv.
The work by Olena Kulchytska, 1905-1907
Source of the illustration: Olena Kulchytska muzeum in Lviv
Folk mosyazhnytstvo gave a strong push and became a source of creativity for professional artists and jewelers of the early 20th century. In particular, the aforementioned O. Kulchytska realized in her work the revision of traditional ideas about jewelry in the search for a new style. The decor and forms of jewelry (brooches, pendants, belts, enamel plaques and boxes) made by the artist show a deep study and creative interpretation of the forms, ornaments, and color of Hutsul folk art.
At the end of the 20th century, the forms of folk mosyazhnytstvo became the basis of the work of the Ukrainian artist from Lviv Lubart Lishchynskyi (1942-1998), who spent the last years of his life in the United States. He used brass casting techniques, smalt, and Venetian glass in his zgardas, necklaces, and bracelets.
The work by Lubart Lishchynskyi, 1990s
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume IІ
Coins and medals were an integral element of Ukrainian folk jewelry. The 21st-century mosyazhnytstvo is represented, in particular, by Vasyl Strynadiuk from Kosiv, the Kosiv “Mosyazhnytstvo Workshop” of Oleh Harkus and Khrystyna Faryliuk, the Kolomyia workshop of Vsevolod Bazhaluk, and the home craft of Nikola Andrusiak and Iryna Kopytko from Pechenizhyn.
Medal, late 16th century
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
MEDALISM is a branch of creative practice specializing in the production of medals, medallions, plaques, commemorative insignia, and small metalwork by casting, stamping, and carving, mainly from metals, plaster, and later ceramics. The term “medal” (French medaille) means a shield, a circle with a two-sided relief image, a metal sign. The term “medallion” means a large medal. Medallions were in mainstream circulation along with coins in ancient Rome.
Archaeological finds testify to the close political and economic ties of the Roman emperors with the princes of Volyn and Galicia in the 4th to 6th centuries: 7 imperial medallions of the 4th century of Constantine the Great and his sons near the village of Laskiv (found in 1610); a gold medallion of Emperor Jovian in the village of Borochytsi, Volyn region; two gold medallions of Emperor Trojan found near the village of Braky, Volyn region; a gold medallion of Constantine the Great from Przemysl Halytskyi, the discovery of a medallion of Constantine I by Russian soldiers of the Southwestern Front of the World War I. According to M. Braichevsky and J. Isayevych, the concentration of finds of gold medallions and Roman coins of the 1st to 4th centuries near princely graves confirms the existence of ties between the early feudal aristocracy of the “Dulibian Union of Tribes”, Volyn and Croatian princes and the Roman Empire.
Zmiiovyk, Ivano-Frankivsk region, 12th century
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
The prototypes of medals and medallions from ancient Rus times are amulets - zmiiovyks, which were in use until the fourteenth century. Two golden cast amulets-zmiiovyks made in Kyiv were taken out of Ukraine and are kept in the State Russian Museum in St. Petersburg. One of them, 7.4 cm in diameter, depicting the archangel Michael and a woman's head entwined with snakes on the reverse was found near Chernihiv. The “beaded” style of the inscription around these images records the name Vasyl, the baptismal name of Volodymyr Monomakh. According to B. Rybakov, the zmiiovyk was made between 1084 and 1094, and another zmiiovyk has a diameter of 4.9 cm, with a golden disk bearing the image of the Virgin Mary and Child, found in 1877 in the village of Bilhorodka, Kyiv region, made around 1100. Unlike the previous one, the rich relief plasticity here is replaced by a predominantly graphic figurative language and simplified font of inscriptions.
The Belgorod Hryvnia may have belonged to Prince Mstyslav, who reigned over the city of Belgorod in 1117-1125. Medals first appeared in Northern Italy at the end of the 14th century. The art of making medals and medallions was greatly perfected in the Renaissance. Outstanding medallists of this era were Pisanello, M. de Pasti, D. Baldu in Italy, J. Pillon in France, C. Massaix in the Netherlands, and A. Dürer in Germany.
"Chernihiv hryvnia" - zmiiovyk of Prince Vladimir Monomakh, the end of the 9th century
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
In the 16th and 17th centuries, minting and engraving in high relief were added to the casting technology for the production of medals. In the 17th and 18th centuries, medal making developed in England, France, and Austria.
The earliest monuments of Ukrainian medallic art of that time include religious medals, originally minted in Rome (on the occasion of the Union of Brest (1596); medals of the Mother of God of Kholm (1765), Pochayiv (1773). In Ukraine, the minting of religious medals was introduced by the Basilian monks in 1776. Pan-European political movements associated with the “Spring of Nations” of 1848 led to the appearance of a number of medals and phaleristic signs of Ukrainian public organizations, including the Main Ruthenian Council (“Cross of Freedom” (1848), “Hetman Doroshenko” (1849), “Hetman Z. Khmelnytsky” (1848), and others. From the second half of the 19th century, medals of agricultural and industrial exhibitions, anniversary medals of prominent cultural figures (I. Kotliarevsky (1895, 1903), M. Shashkevych (1911), T. Shevchenko (1911, 1914), medals of musical, sports, and public societies appeared.
Medal making has long been a part of the art of making folk beads and chest jewelry in Ukraine. In the late 19th and early 20th centuries, medals were made to mark the 100th anniversary of Taras Shevchenko's birth (1914) and the opening of the monument to I. Kotliarevsky in Poltava (1903).
Jubilee medals (dukachi)
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
Medallions became especially popular in the mid-19th century. The possibility of reproducing them by casting led to a fashion for decorating rooms with medallions of a commemorative and decorative nature, for using them as gifts, awards on the occasion of anniversaries, memorable dates, exhibitions, competitions, etc.
A significant number of sculptors worked among the masters of artistic casting. Among the famous Ukrainian artists who designed medals, orders, and insignia were P. Kovzhun, R. Lisovskyi, O. Kulchytska, Y. Butsmaniuk, M. Bytynskyi, A. Parashchuk, O. Novakivskyi, M. Ivasyuk, M. Havrylko, O. Lushpynskyi, P. Tereshchuk, A. Andreychyn, M. Butovych, S. Hordynskyi, S. Lytvynenko, J. Nalborchyk, E. Pikhel, M. Brynskyi, E. Kozak, and others.
Megic Peter. Bishop's Cross and Panagia, 1930s
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
Separate groups of phaleristic monuments include insignia and awards of the Legion of the Ukrainian Sich Riflemen, the UGA, public, sports, artistic and cultural societies "Sokil", "Plast", "Prosvita", "Ruska Shkola", "Chornomore", "Sich", and corporate insignia. Jubilee awards were made for the 50th anniversary of the "Ridna Shkola" society (1931), the centenary of the publication of "Rusalka Dnistrova" (1937), and others. The Ukrainian public was engaged in explanatory work regarding the historical significance of medalism. In particular, in 1917, Vasyl Shchurat delivered an abstract “On Commemorative Medals and Crosses” at a meeting of the Commission for the History of Art at the National Academy of Sciences in Lviv. During World War II, a system of UPA awards and distinctions was developed with the participation of the artist Nil Khasevych.
"Plast" Awards, 1911
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
Among the firms producing Ukrainian faleristics are the firm of I. Kuzmych, Lviv (1906), P. Snihurovych, Stanislav, B. Khomynets, Tyshivnytsia village, Stryi district, the Dostava Trading and Industrial House, Stanislav, Lviv (1905), the M. Brylynskyi Foundry, Lviv, the Reinemer Spiel firm, Vienna, and others. However, the authorship of most of the outstanding monuments (more than 900 items) of Ukrainian phaleristics of the first half of the 20th century has not been established.
The difficult time, marked by turning points in the development of Ukrainian culture, also affected urban goldsmithing, which began to decline. In 1922 alone, the Bolsheviks confiscated from Ukrainian churches 2,850 poods of silver, 30 pounds of silver, 3 poods and 2 pounds of gold, 1,397 carats and 13 gold pieces of precious stones. At the same time, thousands of silver items with a total weight of 130 poods (over 2 tons) were taken from the churches of the Podillia province alone. In Kyiv in 1922, 150 private collections were seized, comprising more than 200,000 antiquities and art objects worth about one billion rubles in 1915 prices, which was equal to the value of the entire gold reserves of tsarist Russia.
In the 1920s and 1930s, residents of Ukrainian villages and towns hid folk jewelry as symbols of national identity, fearing searches and repression.
The development of goldsmithing by Galician Ukrainians was particularly strong in the period between the two world wars, specializing at that time mainly in religious items. Among the goldsmiths' workshops were the internationally recognized Boroch Dorngelm firm, the goldsmith's workshop and warehouse of Karol Walker (1859, Lviv, K. Ludowyka street), the goldsmith's workshop of Ivan Vypasko (Lviv, Krakivska street), the goldsmith and engraver's firm of the Jantsin brothers (Lviv, Batory street). Batoria), goldsmiths' artels and workshops in Lviv by Iosyp Badovskyi and Mykhailo Dymet, the Ryznytsia Company with branches in Stanisław, Lviv, Sambir, and Przemyśl, the church products company Svyatniana Pomoch in Stanisław and Kolomyia, and others.
On this background, the work of rural goldsmiths stood out, existing alongside professional urban jewelry for several centuries. Rural jewelry production is characterized by primitive technology and complete organic unity with traditional clothing. In most cases, serialized items were stamped or cast in clay or stone molds with imitation grain. The decorative sound of the form was complemented by engraving and amalgam gilding.
Dukach
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume I
In the eastern regions, the main place in the decorative complex of jewelry was occupied by dukachs, minted medallions or gold coins that hung on chains or were suspended from a kind of brooch-bow. According to the types of brooches they carried, dukachs were called wicker, horned, Veremiyivka bows, etc. In some regions, the place of the dukach was occupied by a rich cross. The form of this decoration was creatively interpreted by folk artists in the compositional scheme of the St. Andrew's cross. Like dukachs, crosses were made of copper, silver, or white alloy by casting or stamping. The engraved geometric patterns on the crosses were often complemented by openwork and enamel decor.
Earrings were also very popular among the products of village goldsmiths. According to their local design, names, and structural and compositional structure, they were divided into Pereyaslav, Veremiivka, knyshky, wings, moons, and others. Folk rings were also distinguished by the stylistic unity of their forms in relation to earrings and similar names.
In the early decades of the 20th century, the production of folk metal jewelry in eastern Ukraine almost completely ceased. Peculiar folk brass jewelry with geometric decorations and ancient pagan symbols was produced only in the Hutsul region.
Nikita S. Pectoral "Peyote Flowers", 1996
Source of the illustration: Shmahalo R.T. "Encyclopedia of art metal". Volume II
Of course, the participants of the project “Decorative metal: metal elements of traditional Ukrainian neck jewelry” did not set out to cover all ethnographic regions of Ukraine and all historical layers of the evolution of ethnic jewelry. We studied scholarly sources, a number of private collections and museums in Lviv (the Museum of Ethnography and Arts and Crafts, the Klymentii Sheptytskyi Museum of Folk Architecture and Rural Life, the Olena Kulchytska Art and Memorial Museum, and the Vynnyky Museum of History and Local Lore), as well as museums in the cities of Lviv oblast: Yavoriv, Horodok, Ivano-Frankivsk, and digital collections: Yosafat Kobrynsky National Museum of Hutsulshchyna and Pokuttya in Kolomyia, museums in Kyiv (National Museum of History of Ukraine, Ivan Honchar Museum, National Museum of Folk Architecture and Rural Life of Ukraine), "Ladomyria" Ethno Park in Radyvyliv, Volyn Local History Museum, Ivano-Frankivsk Local History Museum, Ternopil Local History Museum, the online collection "Open Chest" and digital collections of several museums in Poland.
Hutsul zgarda. The Museum of Ethnography and Arts and Crafts in Lviv
Source of the illustration: https://sites.google.com/view/starlight-necklace/
While the problem of large museums is closed collections and the lack of digitized exhibits in full and free access, the results of expeditions to museums in the cities of Lviv oblast: Yavoriv, Horodok, and Ivano-Frankove, a small number of ancient artifacts were recorded. Other museums in the Lviv region were not even covered by the research expeditions, as they received information about the absence of samples of jewelry with metal elements among the exhibits for research.
However, in science, the absence of significant quantitative results is also a result that has its historical causes. After all, during the repressions and searches of totalitarian regimes, jewelry wearers were deliberately forced to hide and destroy jewelry as a marker of national identity that could lead to arrests and exile in Siberia. Folk jewelry turned out to be not just “costume jewelry” or “fun,” but a multidirectional indicator of aesthetic and symbolic interaction with the world, developing a mentality and codifying certain artistic and historical constructions.
Zoriana Kuryliak (Starlight necklace). Necklace "Galichanka" (fragment), 2024
Source of the illustration: https://sites.google.com/view/starlight-necklace/
Thus, the concept of “jewelry,” and thus the project “Decorative metal: metal elements of traditional ukrainian neck jewelry” by Starlight necklace (Zoriana Kuryliak, the author of the idea), accumulates a multifaceted experience based on historical crafts, traditions, and innovations related to new 3D design capabilities. In particular, Z. Kuryliak developed 3D models of neck clasps (like traditional Hutsul cheprags) and pendants in the same style, which can serve as elements for a small-scale author's necklace.
Zoriana Kuryliak (Starlight necklace). Necklace "Kosycia", 2024
Source of the illustration: https://sites.google.com/view/starlight-necklace/
Global trends in designer jewelry over the past five years have professed narratives of democracy, blurring the aesthetic difference between “high jewelry” and affordable costume jewelry. The historically disdainful attitude of professional jewelers towards “costume jewelers” is now being deliberately leveled and presented as a certain trend in which elementary mounting techniques, eco-design ideas, recycled materials, and local identity of jewelry are prominent. The idea of publicly accessible jewelry creation is associated with a high level of creativity, novelty of forms and remixing the simplest technologies with digital design.
Zoriana Kuryliak (Starlight necklace). Necklace "Kosycia" (fragment), 2024
Source of the illustration: https://sites.google.com/view/starlight-necklace/
Zoriana Kuryliak (Starlight necklace). Necklace "Kosycia" (fragment), 2024
Source of the illustration: https://sites.google.com/view/starlight-necklace/
This was a step towards the restoration and popularization of almost forgotten and time-worn local identity markers. The acquired knowledge will be used to create new author's constructive metal elements of jewelry using 3D modeling, which will allow to develop the unique character of ethnic jewelry by Zoriana Kuryliak.
Doctor of Art History, Professor at the Department of History and Theory of Art, Lviv National Academy of Arts