Gold Upper Arm Bracelet. White Gold Diamonds.

Gold Upper Arm Bracelet

gold upper arm bracelet

    upper arm
  • In anatomy, an arm is one of the upper limbs (also called forelimbs) of an animal. The term arm can also be used for analogous structures, such as one of the paired upper limbs of a four-legged animal, or the arms of cephalopods.

  • The foreleg between the shoulder and elbow joints.

  • watchband: a band of cloth or leather or metal links attached to a wristwatch and wrapped around the wrist

  • jewelry worn around the wrist for decoration

  • An ornamental band, hoop, or chain worn on the wrist or arm

  • Handcuffs

  • A bracelet is an article of jewelry which is worn around the wrist. Bracelets can be manufactured from leather, cloth, hemp, plastic or metal, and sometimes contain rocks, wood, and/or shells.

  • coins made of gold

  • A yellow precious metal, the chemical element of atomic number 79, valued esp. for use in jewelry and decoration, and to guarantee the value of currencies

  • amber: a deep yellow color; "an amber light illuminated the room"; "he admired the gold of her hair"

  • An alloy of this

  • A deep lustrous yellow or yellow-brown color

  • made from or covered with gold; "gold coins"; "the gold dome of the Capitol"; "the golden calf"; "gilded icons"

gold upper arm bracelet - Sterling Silver

Sterling Silver Arm Cuff Bracelet Hand Jewelry Dia 3.25 Inches

Sterling Silver Arm Cuff Bracelet Hand Jewelry Dia 3.25 Inches

Traditional Indian jewelry indicates how Indian men and women had a penchant for adorning themselves with jewelry, from head to toe. Jewelry has played an important role in the Indian culture and tradition form the ancient times, until today.From earrings, necklaces, bracelets, nose-rings, armlets, and anklets, Indian jewelry provides the quintessential way to enhance a woman's beauty. With such a demand for beautiful jewelry, artistic designs, unique looks, and creative craftsmanship have always been part of Indian jewelry.An example would be armlets. Armlets often resemble large bracelets or cuffs but as their name suggests, are worn above the elbow.Unlike the more common bracelets, armlets are especially designed to uphold its form even when pressure is applied. The ShalinCraft armlets are known to be more flexible in construction and are more commonly referred to in India, as bajuband. This flexible type of Indian jewelry is made of intricately narrow elements, particularly vertical edges with an assortment of angular contours that perfectly fit one other like pieces of a jigsaw puzzle. Armlets, just like other pieces of handmade jewelry can be decorated using different metal working techniques, and the more elaborate designs will make use of precious stones and enamel. In Rajasthan, these armlets are integral to marriage jewelry, whether it was for the rulers during the ancient times, the Rajputs, or for the nomads, the Banjaras.Sterling silver jewelry make armlets accessible for everyday use. Styles today come in either chunky designs or minimalist twirls and wiring.

83% (11)

Achaemenid Gold Cloisonne Pectoral

Achaemenid Gold Cloisonne Pectoral

Gold and cloisonne, 6th-4th century B.C.E.
H. 26 cm.; W. 24 cm.

This pectoral is the most splendid example of Achaemenid court jewelry presently known. It comprises three different parts: a collar-like front section that is flat; a long, clasp-like, tubular element that attaches at duck's-head terminals; and a pendant hinged to the front.

According to ancient sources, the Achaemenid "Kings of Kings" sometimes honored their followers with jewelry. These gifts befitted not only the receiver's rank but also symbolized his loyalty to the ruler.1 The battle scenes on this torque and pendant suggest they were made for a high-ranking male official, and definitely not for a woman. This was an idea entirely alien to Greek customs: the quantity of jewelry worn by high-ranking dignitaries in an Achaemenid battle-line gave a splendid and sparkling impression, prompting Alexander the Great at the battle at Issos to misinterpret the shining gold of his Asiatic opponents as a sign of their effeminacy and to spur his troops on with the expectation of rich booty.2

Although almost entirely composed of Achaemenid motifs, this pectoral has undeniable Egyptian affiliations.3 The type of the pendant finds a parallel on the statue of an Egyptian official of the Achaemenid era who wears an Egyptian pectoral depicting Egyptian deities together with a Persian torque, a piece he was allowed to wear by explicit permission of the king.4 The cloisonn technique of the Shumei pectoral is likewise attested in Egyptian art; a famous inscription of Darius the Great from Susa mentions Egyptian goldsmiths being in Achaemenid service.5 Even such a detail as the tiny foliage of Egyptian Nymphaea nelumbo with turned-up tips, which borders the lower register on the torque, was widely used in Achaemenid ateliers and occurs in a technically quite similar execution on a pair of late Achaemenid earrings from Susa.6 On the torque the formerly Egyptian motif was combined with typical Near Eastern "stepped embattlements," which function as central veins of the leaves. In contrast to Near Eastern examples, though, this frieze has narrow interstices between the individual leaves, a detail most likely drawn from Greek "egg-and-dart" friezes.7 Therefore, this unobtrusive ornament likely reveals the decorative heritage of no fewer than three cultures. The band of rectangles with indented contours in the register above also has a perfect parallel on the above-named earrings from Susa.

Unfortunately Achaemenid art is extremely difficult to date, but in this case the technical analogies suggest a late Achaemenid attribution, to the fourth century B.C., before the collapse of the empire.8

The most extraordinary elements of this piece are the figural representations. In the upper section of the pendant, between two ducks, is a winged god that is half-human and half-bird, a type of imagery usually associated with Ahura Mazda. Protomes of a similar deity without wings appear in the tiny crescent medallions which border the pendant and the tubular upper part of the torque itself.9 Originally the central Ahura Mazda was abundantly decorated with glass inlays, and the artist's brilliance is evident in the use of a millefiori technique for the representation of the god's face.

The same technique was used in an even more spectacular fashion to characterize the Persian trappings10 and the heads of the horses in the pendant's lower register. This miniature frieze depicts a battle between two horseman and two infantrymen. The artist took care to differentiate the riders not only by their weaponry and horses but even by their saddle equipment. The high rank of the rider on the left is borne out by his infantry guards behind him, who have little balls or "apples" on the lower end of their spears. Such "apple-bearers" (melophoroi) were members of the royal Persian guard, who were used even by Alexander after his conquest of the Persian Empire.11 This rider gallops to the right, shooting an arrow at a fleeing opponent. As part of his Persian costume is a rare representation of an Achaemenid cuirass, with its characteristic high neck protector.12 The skirt of the cuirass made of straps is obviously derived from Greek armor. Other elements of his equipment, such as the notched lower border of his saddle cloth and the ram-head type of horse, reflect Achaemenid traditions.13

The fleeing horseman throws up his right arm in despair. He is represented without a cuirass, and the head of his horse shows the characteristic "Arabian dish." The rider's passionate gesture recalls Graeco-Persian rather than truly Near Eastern art, clearly demonstrating the intrusion of Greek elements.14 The action of an infantryman at the far right is difficult to decipher. Is he fleeing, or is he aiming an Achaemenid battle axe (?) at the head of the fleeing rider?

On the third register of torque are repeated duos of tiny golden horsemen t

Bactrian Silver Cylindrical Cup with Agricultural and Ceremonial Scene

Bactrian Silver Cylindrical Cup with Agricultural and Ceremonial Scene

Silver, Late 3rd-early 2nd millennium B.C.E.
H. 12.6 cm.

A fine metalworking tradition appears to have developed in western Central Asia in the late third to the early second millennium B.C. Based on comparisons with excavated pottery types and with finds in the so-called Fullol hoard of objects from northern Afghanistan,1 a number of gold and silver vessels have been attributed to Bronze Age Bactria. Perhaps the most exceptional are cylindrical silver vessels with elaborate figural scenes executed in low relief with incised details, all of which may come from a single workshop.

On this example,2 bearded and moustached male banqueters wearing fillets in their bound long hair are seated in a row above men and boys plowing a field. The main personage in this upper row, who faces left, is distinguished by an elliptically shaped bead on his fillet; he also wears a necklace and bracelet with similar beads, all bearing hatched patterns that might suggest veined stone such as agate. A robe with very clearly rendered individual tufts covers one arm entirely and envelops the rectangular form of his lower body. The man's exposed right arm is raised to hold a tall footed beaker to his mouth (this is the only figure to have a defined mouth). In front of him are a footed fruit bowl, a pair of tall vessels, and a second seated figure wearing a robe with a herringbone pattern. The proper right arm of this figure is raised toward the main personage. Also part of this banqueting scene are five other seated male figures, their garments distinguished alternatively by individual tufts or horizontal rows of hatchings that form herringbone patterns. Some figures hold beakers and one rests a hand on a large altar-like rectangular object with a crosshatched pattern.

In the scene below, two plows are held by long-haired men wearing short kilts with herringbone patterns. Before them, nude youths holding branches attempt to keep two pairs of oxen under control. Another male figure holds a square object-perhaps a box or even a drum-under one arm, and raises the other one. The figures stand on freshly seeded earth; between the animals is an object with a wavy-line pattern and seed-like elements along the top edge. Although difficult to interpret, this could indicate landscape in viewed from above or a vessel in profile.

While iconographic elements such as the garments connect the imagery on this cup to the art of Mesopotamia and Elam, certain aspects of style are very distinctive. In particular, a strong interest in the placement of human and animal figures in space is manifest. The oxen in the background are darkened with hatched lines to clearly distinguish them from those in the foreground.3 The muscular shoulders of the human figures may be depicted in profile or in three-quarter view, and they may have one rather than two nipples showing. The two plows, one seen from the front and the other from the back, are placed behind one and in front of the other nude youth. An interest in the use of patterning to define the textures of garments and objects is also evident.

In style, this cup is closely related to a silver vessel in the Levy-White collection.4 The main personage in a hunting scene there bears a close resemblance to the main figure on the present cup. He is bearded, with a well-delineated mouth, and has elliptical beads both in his hair and around his neck. A figure with similar features appears on another cup, which depicts the aftermath of a successful hunt.5

1. Amiet 1988b, pp. 136, 161, describes this hoard (like the "Astrabad treasure" from Iran with related material) as a contrived collection of objects from clandestine excavations in northern Afghanistan; see Tosi and Wardak 1972, pp. 9-17.
2. See Amiet 1986, pp. 328-29, fig. 202; Pottier 1984, pp. 73, 212, pl. xxx, fig. 250; Deshayes 1977, pp. l04-5; Amiet 1988b, p. 136, fig. 9.
3. This convention is also used on a cylindrical cup in the Louvre, with a chariot scene: see Amiet 1988b, p. 163, fig. 6.
4. See Pittman 1990, pp. 43-44, no. 30.
5. Amiet 1986, pp. 326-27, fig. 201.

Text and image from the website of the Miho Museum.

gold upper arm bracelet

gold upper arm bracelet

Arm Cuff Bracelet Sterling Silver Armlet 3 inches (armlt008a)

Armlets that often resemble bracelets but are much larger are worn above the elbow. Unlike bracelets, the armlets need to be shaped in such a way that they remain in position through pressure. ShalinCraft armlets are of flexible kind and are known in India as bajuband. This flexible type is made of many narrow elements, whose vertical edges have a variety of angular contours that fit along side each other like a jigsaw puzzle. Armlets may be decorated with a variety of metal working techniques, and the more elaborate employ enamel and precious stones. In Rajasthan, the upper arm jewelry is an essential part of the marriage jewelry, be it the Rajputs (rulers in earlier periods) or the Banjaras (nomads).

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