ThinkingJewellery. On the way towards a theory

What is jewellery?

Why does man design objects that form his individual appearance? In which traditions are these practices established? What function does jewellery have in different sociological contexts? And what position does it take on within the current realm of design? These and similar questions have been the focus of the interdisciplinary series of symposia SchmuckDenken [ThinkingJewellery], in which, for the first time since 2005, renowned ethnologists, philosophers, psychologists, cultural and natural scientists as well as jewellery designers and tutors have carried out a thorough determination of the position of the phenomenon of ‘jewellery’. The long-term goal: the development of an as yet outstanding ‘theory of jewellery.’

There is indeed still a way to go until a final conclusion is found but a significant cornerstone has, however, now been laid: Shortly before the seventh symposium - hosted by the gemstone and jewellery design course at the Fachhochschule Trier (in Idar-Oberstein) together with the town of Idar-Oberstein – ARNOLDSCHE Art Publishers is releasing a book, concisely summarising the results from the first six years. A selection of the most important contributions introduces diverse approaches over 352 pages, which at the same time illustrate the focus of the symposium: Beyond the usual art historical approaches, above all, the philosophical, cultural-anthropological, psychological and sociological principles of jewellery are taken into consideration.

The fact that with contributors like Bernhard Schobinger, Suska Mackert und Jivan Astfalck, three contemporary jewellery designers also have their say, is down to the will to bring concrete aesthetic reflections to the debate. The division of the individual texts with illustrations showing the work from jewellery design graduates also makes clear the tangible influence of the symposia’s conclusions on teaching and artistic practice: the seeds of theoretical reflections and practical realisation are sown here in fascinating ways.

The content of the book is also reflected in its design: here ‘Alverata’ the newly designed font from the renowned typographer Dr. Gerard Unger is used for the very first time – thanks to its unusual profile it is itself a commentary on the question of the origin and function of the ornamental. 


W. Lindemann (Ed.) & FH Trier | Idar-Oberstein

Text in English