![]() A voyage of styles and forms that accompanied the growing geographic knowledge about Asia which was hitherto unknown to the Europeans. This circulation of models extended from Hormuz to Goa and onwards to Malabar, from Cochin to Bengal along the Coromandel coast taking in the Taprobane (Ceylon) as well as out into the - fittingly coined - 'Mediterranean' of the China Sea, from the straits of Malacca to the seas of Java and into the rivers of Asia. This «empire of objects», worked in silver and gold, emerged out of the confluence of many different artistic worlds, unknown to one another, which in Asia acquired its own particular features to produce variations on the European models brought by the nobility and the missionaries. Apart from territorial expansion and conquest, this Portuguese adventure was also one of missionary work, carried out far from Europe, and which required the creation of doctrinal instruments for religious instruction and new liturgical implements for the newly converted to marvel at. Asian gems were soon accurately depicted in paintings by artists of the Lisbon court. In contrast, the pepper trade was reserved as an exclusive royal monopoly. A 'frantic thirst' for precious gems that fitted the voyager’s pocket, whether officer, expert or occasional trader, each one confident of lucrative returns from trafficking that fell outside the scope of the scope of the crown’s control. The «great Oriental adventure», whether undertaken by traders, merchants, priests, explorers or the military, was driven by the lure of Oriental luxury goods and by the 'love of money and a lust for gems', as Fernão Mendes Pinto so aptly underscored. Precious gems and jewellery captivated the minds of these adventurers from the moment they disembarked from their carracks. Pepper from Cochin, cinnamon from Ceylon (Sri Lanka) and cloves from the Moluccas were not the only treasures the Portuguese sought in Asia. In addition, we will consider the representation of jewelry elements and ensembles in art, literature, and contemporary media to better understand its roles in various culture. We will study jewelry, itself, as a primary resource, considering individual elements of jewelry and their incorporation into dress ensembles. Students will develop a critical, interdisciplinary approach to jewelry, incorporating art historical, anthropological, fashion, and identity theory. Prerequisite(s): N/A Co-requisite(s): N/A Learning Goals: Students who successfully complete this course will develop the visual skills and critical vocabulary for identifying, describing, and contextualizing works of jewelry representative of diverse world cultures. We will investigate the role of adornment in conveying gender and identity, and also consider cultural perspectives of jewelry as sacred and magical. We will explore aesthetics, design, materials, and production techniques across cultures. Course Description: This course looks at jewelry throughout history and from around the world. ![]()
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