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The Cellini spiral is a variation on the Peyote stitch that uses beads of increasing size to create a textured surface. It was originated by seed bead masters Virginia Blakelock and Carol Perenoud who developed the tubular variation and named it after Benvenuto Cellini, a 16th-century Italian sculptor known for his Rococo architectural columns. [2]
Many bracelets and necklaces in that collection are made of twisted wire, some in as many as seven rows of plaiting, with clasps in the shape of heads of animals of beaten work. Others are strings of large beads of gold, decorated with volutes, knots and other patterns of wire soldered over the surfaces. [6]
In the simplest example of handmade wire wrapped jewelry, a bead is threaded onto a jewelry making finding called a head–pin. The bead is held in place by the "head" on the head pin. The portion of the head pin coming out of the opposite side of the bead is essentially wire.
The wearing of beadwork among the various Manobo tribes is culturally very important. The number, colors, and patterns vary by tribe and by status. The largest type of bali-og is a women's necklace known as ginibang. Its name means "monitor lizard" due to the resemblance of the patterns to monitor lizard scales. [1] [2] [3]
At the beginning of the 20th century embroidery workshops were created on the territory of Galicia and Bukovyna, where, along with weaving and embroidery, jewelry from beads was made. Contemporary beadwork includes: beaded clothing, collars, bracelets, necklaces, clothing accessories like handbags and purses. [16] [17] [18] [19]
The most common view is that tomoe patterns originated in magatama jewelry from late Jōmon period approximately 1,000 BCE of Japan which was used for the shinto rituals. A pattern resembling the two-comma tomoe (futatsudomoe) has been found in ancient cultures on all inhabited continents.
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