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Elias Jade Not Afraid (born 1990) [1] is an Apsáalooke (Crow/Absaroke) [2] artist known for his traditional and non-traditional beadwork. He is a member of the Crow Tribe of Montana , [ 3 ] who grew up on the Crow Reservation between Lodge Grass and Wyola , Montana.
The beads, also described as "jewels", were made of primitive stone and earthen materials in the early period, but by the end of the Kofun period were made almost exclusively of jade. Magatama originally served as decorative jewelry, but by the end of the Kofun period functioned as ceremonial and religious objects.
Necklaces with carved jade pendant Jade culture is an important aspect of Chinese culture , [ 3 ] reflecting both the material and spiritual culture of the Chinese people. [ 4 ] : 18 Jade is deeply ingrained in Chinese culture and played a role in every aspect of social life; [ 4 ] : 18 it is also associated with positive qualities and aspects ...
The son of Heaven had his pendant composed of beads of white jade, hung on dark-coloured strings; a duke or marquis, his of jade-beads of hill-azure, on vermilion strings; a Great officer, his of beads of aqua-marine, on black strings; an heir-son, his of beads of Yu jade, on variegated strings; an ordinary officer, his of beads of jade-like ...
North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams, 1999: 170-171. ISBN 0-8109-3689-5. Haley, James L. Apaches: a history and culture portrait. Norman: University of Oklahoma Press, 1997. ISBN 978-0-8061-2978-5. Karasik, Carol. The Turquoise Trail: Native American Jewelry and Culture of the ...
Maya jade pendant from late classic to late classic period, in the Yale University Art Gallery. Jade use in Mesoamerica for symbolic and ideological ritual was highly influenced by its rarity and value among pre-Columbian Mesoamerican cultures, such as the Olmec, the Maya, and the various groups in the Valley of Mexico.
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