SRI LANKAN<br/> <em>Entwined swan pendant</em> (mid 20th century) <!-- (front view) --><br /> <em>(Hansa puttuwa padakkam)</em><br /> gold, pearls, rubies, diamonds, emeralds<br /> 5.9 x 4.7 x 1.4 cm<br /> National Gallery of Victoria, Melbourne<br /> Gift of Dinesh Sivaratnam through the Australian Government's Cultural Gifts Program, 2018<br /> 2018.1614<br /> <!--136707-->
Letters from the Director

Into the jewellery box

Dear friends,

From tradition and culture to glitz and glamour, jewellery has long adorned bodies around the world as a statement of identity. Some pieces are passed from generation to generation, while others are à la mode for a moment in time. This week, we explore the NGV’s jewellery collection to discover stories from around the world.

Traditional Sri Lankan Tamil wedding jewellery sets can comprise over twenty pieces, adorning a bride from head to toe. The hansa puttuwa (entwined swans) is an auspicious motif in Sri Lankan art; swans represent purity and beauty, and a pair symbolise the graceful unity of two entities. Some brides wear multiple hansa puttuwa pendants on necklaces of different lengths, often featuring the exquisite gemstones for which Sri Lanka is so well known. Though this style remains popular, the incredible handcraftsmanship seen in these pieces has increasingly been replaced by mechanical production.

Traditional Sri Lankan Tamil wedding jewellery sets can comprise over twenty pieces, adorning a bride from head to toe. The hansa puttuwa (entwined swans) is an auspicious motif in Sri Lankan art; swans represent purity and beauty, and a pair symbolise the graceful unity of two entities. Some brides wear multiple hansa puttuwa pendants on necklaces of different lengths, often featuring the exquisite gemstones for which Sri Lanka is so well known. Though this style remains popular, the incredible handcraftsmanship seen in these pieces has increasingly been replaced by mechanical production.

Most Turkmen were nomads and did not settle in cities and towns until the advent of the Soviet government in Central Asia after the 1917 Russian Revolution. Jewellery was a form of portable wealth and often worn in sets across the head, neck, chest and arms, with different details and finishes distinguishing groups from one another. Decorated with carnelians and worn in pairs, one on each arm, bracelets such as these were worn by all tribes and were generally reserved for festivals and ceremonies. Guljaka are ornamental discs worn as part of everyday dress attached to the front of women’s tunics at the centre of the neck. This massive pectoral ornament would have clearly indicated the wealth and status of the wearer’s family. In addition to pierced work and fire-gilding in a leaf and blossom pattern, this example includes forty-six flat-topped, collet-set carnelians and the gilt plaques at the top of the chains have an ancestor motif at either end.

Most Turkmen were nomads and did not settle in cities and towns until the advent of the Soviet government in Central Asia after the 1917 Russian Revolution. Jewellery was a form of portable wealth and often worn in sets across the head, neck, chest and arms, with different details and finishes distinguishing groups from one another. Decorated with carnelians and worn in pairs, one on each arm, bracelets such as these were worn by all tribes and were generally reserved for festivals and ceremonies. Guljaka are ornamental discs worn as part of everyday dress attached to the front of women’s tunics at the centre of the neck. This massive pectoral ornament would have clearly indicated the wealth and status of the wearer’s family. In addition to pierced work and fire-gilding in a leaf and blossom pattern, this example includes forty-six flat-topped, collet-set carnelians and the gilt plaques at the top of the chains have an ancestor motif at either end.

While individual pieces of jewellery are often impressive on their own, worn as a set, they can transform into something extraordinary. A parure is a matching set of jewellery – necklace, tiara, brooch, bracelets, earrings – designed to be worn as an ensemble. They are made in both precious or semi-precious metals and gemstones. This set, made of gold and matching citrines, is illustrative of the ostentatious style of French jewellery during the 1820s. Parures became extremely fashionable in Europe during the nineteenth century. They were often collected as grand tour souvenirs by wealthy young men and women travelling in Europe as a way to enrich their cultural education.

While individual pieces of jewellery are often impressive on their own, worn as a set, they can transform into something extraordinary. A parure is a matching set of jewellery – necklace, tiara, brooch, bracelets, earrings – designed to be worn as an ensemble. They are made in both precious or semi-precious metals and gemstones. This set, made of gold and matching citrines, is illustrative of the ostentatious style of French jewellery during the 1820s. Parures became extremely fashionable in Europe during the nineteenth century. They were often collected as grand tour souvenirs by wealthy young men and women travelling in Europe as a way to enrich their cultural education.

Beyond reflecting the tastes of a moment in time, jewellery can itself be a medium for storytelling. Elisa Jane Carmichael is a Ngugi woman from Quandamooka Country who works across a range of media, including painting, weaving, textile design and fashion using acrylic paints, natural fibres, found and synthetic materials. Woven with yunngaire (swamp reeds), shells, sea rope, fish scales and discarded plastics, Carmichael has created a series of neck adornments including this one which tell the story of the tides changing on Minjerribah, Stradbroke Island and of healing the coastline’s rock. As the tides have shifted over time with the impacts of waste, these neck adornments have evolved into discarded plastics which are sadly taking over our waters and marine life. In the artist’s own words, ‘these adornments are a symbol of the past, present and future of our waters’.

Image: Elisa Jane Carmichael Healing rock neck adornment #3 2018. National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Indigenous Art, 2018. Photo: Louis Lim

Beyond reflecting the tastes of a moment in time, jewellery can itself be a medium for storytelling. Elisa Jane Carmichael is a Ngugi woman from Quandamooka Country who works across a range of media, including painting, weaving, textile design and fashion using acrylic paints, natural fibres, found and synthetic materials. Woven with yunngaire (swamp reeds), shells, sea rope, fish scales and discarded plastics, Carmichael has created a series of neck adornments including this one which tell the story of the tides changing on Minjerribah, Stradbroke Island and of healing the coastline’s rock. As the tides have shifted over time with the impacts of waste, these neck adornments have evolved into discarded plastics which are sadly taking over our waters and marine life. In the artist’s own words, ‘these adornments are a symbol of the past, present and future of our waters’.

Image: Elisa Jane Carmichael Healing rock neck adornment #3 2018. National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Indigenous Art, 2018. Photo: Louis Lim

Designers and makers often use the materials surrounding them to create something truly remarkable. Torres Strait textile designer and printer Rosie Ware’s work is inspired by the beautiful islands surrounding her home on Thursday Island, the maritime history of the Torres Strait and her culture. Crepe copper lei reimagines the lei Ware’s mother made for festive occasions – look closely and see the way she’s cleverly folded the copper sheet to replicate the look of crepe paper. A white enamel finishing and painted highlights along the copper folds further lends a paper-like quality to the design. Threaded on a steel cable, along with periwinkle and cowrie shells collected from the Torres Strait, Ware’s piece brings her childhood memories to life.

Designers and makers often use the materials surrounding them to create something truly remarkable. Torres Strait textile designer and printer Rosie Ware’s work is inspired by the beautiful islands surrounding her home on Thursday Island, the maritime history of the Torres Strait and her culture. Crepe copper lei reimagines the lei Ware’s mother made for festive occasions – look closely and see the way she’s cleverly folded the copper sheet to replicate the look of crepe paper. A white enamel finishing and painted highlights along the copper folds further lends a paper-like quality to the design. Threaded on a steel cable, along with periwinkle and cowrie shells collected from the Torres Strait, Ware’s piece brings her childhood memories to life.

Dolce & Gabbana designers Domenico Dolce and Stefano Gabbana draw inspiration from their Italian heritage, Sicilian culture and la dolce vita, the sweet life. They frequently inject a sense of audacious opulence into their designs, as exemplified in this 1993 necklace. This playful and ironic example of statement costume jewellery encapsulates the language of everyday pop culture. At the time that this necklace was produced, fashion was taking many cues from the music industry, spanning genres from hip-hop to grunge. While virtually redundant now, at the time, the CD was a revolution that helped make music portable, ultimately changing the way it was consumed. This necklace sits somewhere between a breastplate and a choker, and as the shiny reflective surface of the mini-CDs catches the light, the glistening sparkle creates the illusion of an accessory made from a luxurious material.

Dolce & Gabbana designers Domenico Dolce and Stefano Gabbana draw inspiration from their Italian heritage, Sicilian culture and la dolce vita, the sweet life. They frequently inject a sense of audacious opulence into their designs, as exemplified in this 1993 necklace. This playful and ironic example of statement costume jewellery encapsulates the language of everyday pop culture. At the time that this necklace was produced, fashion was taking many cues from the music industry, spanning genres from hip-hop to grunge. While virtually redundant now, at the time, the CD was a revolution that helped make music portable, ultimately changing the way it was consumed. This necklace sits somewhere between a breastplate and a choker, and as the shiny reflective surface of the mini-CDs catches the light, the glistening sparkle creates the illusion of an accessory made from a luxurious material.

In the picture III by Swiss born, New Zealand-based jeweller Tatjana Panyoczki utilises a similar idea of juxtaposing high and low materials. Her practice focuses on using both precious and non-precious materials, including found objects. This choker necklace is made from gold-gilded decorative timber moulding that is used for picture frames. The timber moulding is cut in equal parts along its length and re-assembled as beads on a steel line with spacers and a clasp. The overall effect is a necklace that looks like one is wearing a flexible, circular picture frame around the neck. This inventive and experimental design sees Panyoczki challenge our expectations of materials and design.

In the picture III by Swiss born, New Zealand-based jeweller Tatjana Panyoczki utilises a similar idea of juxtaposing high and low materials. Her practice focuses on using both precious and non-precious materials, including found objects. This choker necklace is made from gold-gilded decorative timber moulding that is used for picture frames. The timber moulding is cut in equal parts along its length and re-assembled as beads on a steel line with spacers and a clasp. The overall effect is a necklace that looks like one is wearing a flexible, circular picture frame around the neck. This inventive and experimental design sees Panyoczki challenge our expectations of materials and design.

David Bielander is another Swiss born artist who works in Munich, one of the centres of contemporary jewellery practice. His skilful command of materials, unbridled creativity and discursive thinking have informed an immense body of jewellery, much of it in the form of animals and common everyday objects. Bielander’s 2015 Cardboard series includes bracelets, neckpieces and crowns made in both silver and gold to mimic corrugated cardboard and steel staples. Made with a fine sense of irony, the jeweller’s Cardboard bracelet takes the form of wristwatch. Beilander’s accomplishment is in creating a sense of illusion, turning the precious into the poor and in doing so, mastering the unexpected.

David Bielander is another Swiss born artist who works in Munich, one of the centres of contemporary jewellery practice. His skilful command of materials, unbridled creativity and discursive thinking have informed an immense body of jewellery, much of it in the form of animals and common everyday objects. Bielander’s 2015 Cardboard series includes bracelets, neckpieces and crowns made in both silver and gold to mimic corrugated cardboard and steel staples. Made with a fine sense of irony, the jeweller’s Cardboard bracelet takes the form of wristwatch. Beilander’s accomplishment is in creating a sense of illusion, turning the precious into the poor and in doing so, mastering the unexpected.

Dutch jeweller Lucy Sarneel’s preferred material is zinc, a material commonly seen on buildings throughout Europe. Sarneel was enamoured with the symbolism of this material, describing it as ‘the blue-grey sky and sea, the subconscious, dreaming away in the distance, the reassuring domestic world of rainpipes, buckets and washtubs, architectural “jewels” like little towers and dormer windows in old European cities.’ Lucy Sarneel’s work is rich with imagination and delight. In an increasingly commercial world where fewer and fewer objects are made with personal passion her jewellery engages us with its craftsmanship, the painted colours, simple, beautiful forms and soft tactility of the zinc. Her work has an aura of its own which creates room for interpretation and allows the wearer to find their own meaning.

Dutch jeweller Lucy Sarneel’s preferred material is zinc, a material commonly seen on buildings throughout Europe. Sarneel was enamoured with the symbolism of this material, describing it as ‘the blue-grey sky and sea, the subconscious, dreaming away in the distance, the reassuring domestic world of rainpipes, buckets and washtubs, architectural “jewels” like little towers and dormer windows in old European cities.’ Lucy Sarneel’s work is rich with imagination and delight. In an increasingly commercial world where fewer and fewer objects are made with personal passion her jewellery engages us with its craftsmanship, the painted colours, simple, beautiful forms and soft tactility of the zinc. Her work has an aura of its own which creates room for interpretation and allows the wearer to find their own meaning.

This summer, when the Gallery reopens, we can’t wait to share with you the exhibition Gabrielle Chanel. Fashion Manifesto where you’ll be enraptured by a collection of bold costume jewellery, alongside more than 100 garments that showcase Chanel’s influential designs. Something to look forward to!

Best wishes and take care,

Tony Ellwood AM
Director, National Gallery of Victoria

This summer, when the Gallery reopens, we can’t wait to share with you the exhibition Gabrielle Chanel. Fashion Manifesto where you’ll be enraptured by a collection of bold costume jewellery, alongside more than 100 garments that showcase Chanel’s influential designs. Something to look forward to!

Best wishes and take care,

Tony Ellwood AM
Director, National Gallery of Victoria