Jewellery Granulation

Granulation is an ancient decorative technique for metalwork. Granulated finds are most commonly made of precious metals such as gold and silver, while copper granulation is very rare, and it has even been claimed that it was not employed in antiquity. This paper presents a scientific analysis of granulated copper ornaments from a gilded coronet belonging to Lady Pei (d. 691 A.D.) that was uncovered from an early Tang Dynasty tomb in Xi’an, China. In addition to common methods such as X-ray radiography, metallographic investigation, and scanning electron microscope observation including energy dispersive spectroscopy to examine the microstructure and elemental composition, X-ray micro-computed tomography was used to investigate the internal microstructure of granulation for the first time. The results affirm that copper granulation technique was used to decorate the coronet. Notably, further study shows that the copper granules and wires were joined to the substrate with silver–copper alloy hard solder and arrives at an estimate of the alloy mixing ratio. These observations are used to infer the manufacturing process: copper granules of two sizes were first brazed to the wires and substrate, and then mercury was used to gild the whole ornament. This work provides new insights for the study of ancient granulation techniques, especially through the scientific study of the very rare examples of copper work.

Thanks to the technical investigation of precious metals artifacts, the gold jewel is very finely
described into its structural parts. Object is now considered as an association of elements intentionally produced
which give new opportunities to analyze craftsmanship’s know-how. By examining a unique bead specifically
ornamented with filigree and granulation, the reconstruction of technical processes which were employed at
Tell Banat (Syria) is presented. Then, the study lead to a better understanding of the diffusion of gold working
knowledge through the Near East to the North-East Aegean during the second half of the 3 rd millennium B.C.

Grâce à l’expertise technique des artefacts en métaux précieux, le bijou en or est révélé dans la plus
grande précision jusqu’au coeur de sa structure. Ce souci de considérer l’objet comme un assemblage d’éléments
résultant de mécanismes opératoires volontairement définis, qui s’inscrivent dans un cadre socio-culturel
spécifique, offre de nouvelles perspectives d’analyse des savoir-faire artisanaux. En s’appuyant sur une pièce
unique caractérisée par une décoration filigranée et granulée, l’étude vise à reconstituer les procédés techniques
en usage à Tell Banat, en Syrie, et à aborder les phénomènes de diffusion des savoirs du travail de l’or du Proche-
Orient au Nord-Est égéen durant la seconde moitié du III e millénaire.

The doctoral practice-based research project in the arts 'The Metamorphic Ornament: Re_Thinking Granulation' questions granulation, considered one of the most magical ornamental techniques in the history of goldsmithing, from an artistic point of view. Rather than the actual technique of granulation itself, which is the starting point and source of inspiration, the main content of research is the process of transformation, whereby techniques and concepts from one discipline, the art of goldsmithing are implemented in another discipline, sculptural silversmithing.

Since the moment of its conception granulation has been found in jewelry as a surface application and has rarely been used for structural purposes. From this knowledge the first point of departure emerged, which explores the possibilities of structural granulation in sculptural silverwork. From this perspective the granule - the original ornament - loses its primary, decorative function of pure visual pleasure and shifts into the essential building material of the object. Granulation becomes the texture, the structure as well as the architectural support of the work.

Alongside this rather technical inquiry, a second, more conceptual starting point arose in which the expressive potential of granulation was explored. In this context granulation evolves from a decorative or constructive technique into subject matter and concept, reaching beyond the technical applications of the process towards a more poetic dimension.

Parallel to these questions the whole research and artistic output was divided into two groups. The first group concentrated on objects that were really build up with granules and the second group on objects where the ‘world’ of granulation with its technical, formal and conceptual constructs is more used as an idea in the subject matter than it is actually present in the object itself.

The outcome of this research is twofold: one is an exhibition body of work resulting in 40 objects, and the second, a written doctoral thesis, developed in interaction with the artistic practice, wherein the intellectual, artistic and practical processes, imperative to the artistic work, were substantiated.