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The Great Perfection, also known as the Atiyoga or Dzogchen (rDzogs chen), is a tradition of esoteric Buddhism that propounds instantaneous enlightenment and was first brought to Tibet in the Eighth Century of the Common Era. The Indian manuscripts of this tradition have been lost in time, and only the Tibetan translations remain. The original teachings of this tradition are contained in books called Tantras, and are generally divided into three categories: The Mind Section, the Space Section, and the Upadesha Instruction Section. The Upadesha Instruction section is devoted to the pointing out instructions or practical advice in the understanding and application of the Great Perfection. It is generally described as having seventeen root scriptures. The Jewel Maker here translated is considered to be the source for the other sixteen Tantras, which form the body of the seventeen works. As such, we may say that this Tantra is the core of the core teachings on the Upadesha instructions of the Great Perfection. This Tantra is also secret, and is said to be under the guardianship of dakinis. The Tantra itself proclaims the importance of keeping it, copying it and preserving it. This translation is part of an effort to preserve and maintain this ancient literature, in keeping with the directives written in the Tantra itself.
A new perspective on woman’s role in the world of art jewelry at the turn of the twentieth century—from Art Nouveau in France and the Arts and Crafts movement in Britain, to Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago—and the most extensive survey to date of the sheer diversity and beauty of art jewelry during this period. Accompanying a groundbreaking exhibition at The Richard H. Driehaus Museum in Chicago, this lavishly illustrated catalog showcases nearly two hundred stunning pieces from the Driehaus Collection and prominent national collections, many of which have never been seen by the public. Women were not only the intended wearers of art jewelry during the early twentieth century, but also an essential part of its creation. Their work—boldly artistic, exquisitely detailed, hand wrought, and inspired by nature—is now widely sought after by collectors and museums alike. From the world’s first independent female jewelry makers, to the woman as artistic motif, this jewelry reflected rapid changes in definitions of femininity and social norms. Essays by noted scholars explore five different areas of jewelry design and fabrication, and discuss the important female figures and historic social milieu associated with these movements—from the suffragists and the Rational Dress Society in England; to the Wiener Werkstätte and Gustav Klimt; and the Art Nouveau masters René Lalique and Alphonse Mucha, who depicted otherworldly women in jewelry for equally fascinating patrons like Sarah Bernhardt. The essays are illustrated by historic photographs and decorative arts of the period as well as the extraordinary pieces themselves: hair combs, bracelets, brooches, and tiaras executed in moonstones, translucent horn, enamel, opals, aquamarines, and much more. As Driehaus writes in his introduction to Maker & Muse, “Essential as these elements are, the metal and gemstones of a necklace—or a brooch or a bracelet—are like a canvas. It is the designer who evokes true greatness, beauty, and value from them. Neither monumental nor mass-produced, the object contains a memory of a particular artist’s skilled hand.”
This book highlights pieces of jewellery from ancient and modern cultures in every part of the globe. Of special interest are the objects that appear in paintings and other works of art: jewel-studded gowns, glittering Renaissance brooches and an Egyptian beaded collar are among the featured works from the "Metropolitan Museum"'s collection. Necklaces, earrings, rings and bracelets fill this book and also included are objects of religious significance, military honours and other kinds of personal decoration. The captions relate anecdotes concerning the artists and wearers and describe the history and style of the jewellery pictured.
Make jewelry that will wow! This book will teach you how to make DIY fashion jewelry with a unique look and style.Packed with pretty, attention-grabbing statement jewelry projects that you can make yourself in one sitting, learn tons of jewelry-making techniques with step-by-step instructions, stunning photography, and expert tips from award-winning designer, Gay Isber.
With The Jewelry Maker's Design Book: An Alchemy of Objects you will learn techniques for making several beautiful projects and discover how to plan and conceive your designs using one-of-a-kind objects in mixed media jewelry pieces.
Jeweler's Resource is written as a unique & practical tool for the bench jeweler. It also serves as the most complete counter reference available to the retail jeweler. It has become a standard reference in the jewelry industry. This revised & expanded edition includes new sections on diamond grading standards, enhanced ring size information, additional metal weight charts & formulae & an expanded 550 entry glossary. The easy-to-follow text & illustrations allow for the explanation of many aspects of gems & jewelry. The author has included extensive listings of gems & gem properties, complete lists of birthstones & birthstone alternatives, diagrams of more than 40 gems cutting styles, metaphysical properties of gems, the composition & standards of all common jewelry metals & solders & numerous formulas & chemical preparations. Additional features are a complete listing of international ring sizes, mathematical formulas for jewelers, comprehensive measurement conversion tables & FTC standards for diamond, gold & silver marketing. This award winning author's 33 years as a jewelry maker & 25 years as a jewelry educator have combined to make the text both comprehensive & understandable. Contact: Jewelers Press, PO Box 103, Eastlake, CO 80614. Fax or Phone (303) 452-7764
Aimed at crafters who have never picked up a pair of pliers, this handbook covers all the basics needed to get started creating great jewelry, from setting up a workspace and transferring designs to honing basic filing, sawing, and soldering skills. Diagrams give clarity for tricky stages, providing examples of what can go wrong and detailing how to repair common problems. A comprehensive tools and materials section reveals how to choose metals and stones, select and store useful materials, and start a beginner's tool kit. With step-by-step photography of every technique--displaying how to plan, pierce, file, solder, pickle, and clean--this comprehensive resource makes creating jewelry accessible and affordable.
Being color blind isn't the same as being blind... unless you're in love. Alexander, heir to the Everly earldom, has just discovered he’s color blind. The malady explains why he didn’t do well in his natural science classes at Cambridge. What’s worse is it impairs his ability to choose gemstones for the jewelry he creates. If only he had a second pair of eyes that could correctly identify colors. The beguiling gray eyes—or are those green?— belonging to the daughter of a renown jeweler are only a temporary fix. He’s too young to marry, and besides, who wants a man who can’t see colors correctly? Margaret spends her days assisting her father in the creation of jewelry for the wealthy. Her knowledge of gemstones is gleaned from years of watching him work and dealing with gem merchants. Although she’s old enough to be out in Society, embarrassment over her withered arm keeps her in the shop. What’s she to do when her latest client insists she attend a ball? He can secure an invitation and has promised her two dances, but is it worth being subjected to the censure and gossip her arm is sure to elicit? Or the wrath of the gem merchant to whom her father owes so much? His proposal might solve the debt issue, but at what price to her? Meanwhile, their impending wedding anniversary has Alexander’s parents reacting in much different ways. Middle age has Harold remembering his youth and fearing his mortality while Stella isn’t ready to succumb to the preconceived notions of what it is to be a matron with grown children. Their solution may require they meet in the middle—of a bed.