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Article Source: http://www.articlesbase.com/ – About Roman glass jewelry from Israel. Sterling silver and roman glass designs

Roman Glass Jewelry

Roman Glass is an ancient glass, discovered in archaeological excavation sites in Israel and in other Mediterranean countries.The fine Sterling Silver Roman Glass Jewelry is one of the most popular types and styles originated from Israel enabling to wear an entirely unique piece of 2,000-year-old history.

The glass in this aqua-hued jewelry began life as a vase, jug, or vessel. Uncovered from ancient Roman archaeological sites in modern-day Israel, each fragment has been textured and colored by centuries of wind and weather. Each bears the marks of not only its past life as a household or temple object but also the very earth in which it rested until being transformed into a unique accent. Each piece of Roman glass is framed by a sterling silver bezel to create a unique roman glass jewel.

The designs for the jewels are based on artifacts and drawings also discovered on the archeological digs. The Roman Glass is a beautiful piece of history dating back 2,000 years to the time of the Roman Empire. The Roman Glass used for jewel today in Israel is found in archeological digs throughout the land of Israel.

The natural phenomenon which the glass has undergone over the many years it has been buried have given it the unique and beautiful aqua shades we enjoy today in earrings , necklaces and bracelets. Initially, in the Roman empire, glass was mainly used for vessels and available only for the wealthy.

At that time, glass was manufactured by core forming, casting, cutting and grinding. However, since the invention of the glass blowing, glass was available to the public in vast numbers, mass produced in a large variety of shapes and forms. Due to the great popularity of glass during those ancient times, we today are priviliged to make use of these gorgeous historical pieces with which we enhance the beauty of our roman glass jewelry. Ancient Israel, due to its large stretches of sandy dunes and beaches, was one of the largest glass producers of the Roman Empire.

These same sands helped preserve the glass through the centuries, shaping and tempering it into the jewelry-quality pieces being excavated today. Today the fragments of the 2000 years old roman glass that were once part of the lip of a goblet, jar, or other vessel are used in Israel to create beautiful jewelry that mixes the typical blue and green old glass excavated from archaeological digs with silver or gold creating a piece of art and history to wear with love. A certificate of authenticity is available for the Roman Glass jewelry.

History of Roman Glass

It is interesting to know some facts about the glass history and the Roman Glass history, collected from several sources. The History of Glass Glass is formed when sand (silica), soda (alkali), and lime are fused at high temperatures. The color of the glass can be altered by adjusting the atmosphere in the furnace and by adding specific metal oxides to the glass “batch” (such as cobalt for dark blue, tin for opaque white, antimony and manganese for colorless glass).

A venerable legend perpetuated as late as the seventh century A.D. in the writings of Isidore of Seville gives a suitable miraculous explanation for the discovery of this elemental–yet truly wondrous–material – This was its origin: in a part of Syria which is called Phoenicia, there is a swamp close to Judaea, around the base of Mt. Carmel, from which the Bellus River arises . . . whose sands are purified from contamination by the torrent’s flow. The story is that here a ship of natron [sodium carbonate] merchants had been shipwrecked; when they were scattered about on the shore preparing food and no stones were at hand for propping up their pots, they brought lumps of natron from the ship.

The sand of the shore became mixed with the burning natron and translucent streams of a new liquid flowed forth: and this was the origin of glass.(Isidore of Seville, Etymologies XVI.16. Translation by Charles Witke.) It is not surprising that the ancient authorities thought of Phoenicia as the birthplace of glass, for the Syro-Palestine region did indeed become a major center of glass production in antiquity, along with Egypt. However, glass seems actually to have been “discovered” not in Phoenicia, but in Mesopotamia. Archaeological research now places the first evidence of true glass there at around 2500 B.C.

At first it was used for beads, seals, and architectural decoration. Some 1,000 years elapsed before glass vessels are known to have been produced. Vessels of glass quickly became widespread in the second half of the second millennium B.C. They were popular not only in Mesopotamia but also in Egypt and the Aegean. The earliest vessels were core-formed. Opaque, dark glass in its molten state was wound around a clay core attached to a metal rod. The skin of hot glass was fashioned with tools in order to shape its external features. Lighter colored strands of hot glass were then trailed on the surface and often “dragged” to produce festoon patterns. The pot surface was marvered (that is, rolled on a smooth, flat surface to produce a level finish). Finally, it was cooled slowly before the clay core was scraped out of the hardened vessel.

This glassware typically imitated forms originally established for ceramic, metal, and stone vessels . Somewhat later, the molding technique was developed, whereby glass chips or molten glass were packed or forced into a mold and then fused. After a molded vessel was annealed (cooled slowly in a special chamber of the glass furnace), it was often ground and polished in order to refine the rim and any other rough edges. One typical shape for molded vessels of the late Hellenistic and early Roman periods (c. 150 -50 B.C.) was the so-called pillar-molded bowl. Here exterior ribs radiate up from the base, stopping abruptly near the rim to allow a smooth margin around the circumference.

This type is ubiquitous; and it attests to the free and rapid exchange of ideas in glass-making throughout the Greater Mediterranean sphere. The site of Tel Anafa in Israel is a small settlement in the Upper Galilee. During ten seasons of fieldwork between 1968 and 1986, Saul Weinberg and his successor Sharon Herbert oversaw the uncovering of part of a small settlement of the Hellenistic and early Roman periods. In Tel Anafa I, Herbert presents the architecture and the stratigraphic sequence (text and some illustrations in fasc. i, locus summary and plates to Chs. 1 and 2 in fasc. ii). The volume also includes studies by other scholars of the geological setting of the site, the stamped amphora handles, coins, vertebrate fauna, and a single Tyrian sealing. Tel Anafa II, i is devoted to the Hellenistic and Roman pottery.

A future volume (II, ii) will complete the series with publication of the pre-Hellenistic and Islamic pottery, lamps, glass, metalware, stucco, stone tools, and the palaeobotanical remains. Tel Anafa (recently excavated jointly by the Universities of Michigan and Missouri) has provided critical information on the chronological limits of these bowls within the Roman period. Glass vessels were initially available only to the very wealthy and only in rather diminutive sizes.

They were manufactured by core forming, casting, cutting and grinding. The invention of glass blowing around 50 BC brought glass vessels to the general public in vast numbers, mass produced in great variety of forms and hence brought ancient glass into the reach of the modern collector of even modest means. One can nowadays own a Roman glass bowl, or drink from a Roman glass beaker, or wear ancient jewellery where glass was used widely. In 63 BC, the Romans conquered the Syro-Palestine area.

They brought back with them glassmakers to Rome.Soon after, the first transparent glass sheets were produced in Rome. The word vitrum, meaning glass, entered the Latin language.Rome’s political, military, and economic dominanace in the Mediterranean world was a major factor in attracting skilled craftsmen to set up workshops in the city, but equally important was the fact that the establishment of the Roman industry roughly coincided with the invention of glassblowing. The new technique led craftsmen to create novel and unique shapes; examples exist of flasks and bottles shaped like foot sandals, wine barrels, fruits, and even helmets and animals. Some combined blowing with glass-casting and pottery-molding technologies to create the so-called mold-blowing process.

Further innovations and stylistic changes saw the continued use of casting and free-blowing to create a variety of open and closed forms that could then be engraved or facet-cut in any number of patterns and designs. Core-formed and cast glass vessels were first produced in Egypt and Mesopotamia as early as the fifteenth century B.C., but only began to be imported and, to a lesser extent, made on the Italian peninsula in the mid-first millennium B.C.

By the time of the Roman Republic (509-27 B.C.), such vessels, used as tableware or as containers for expensive oils, perfumes, and medicines, were common in Etruria (modern Tuscany) and Magna Graecia (areas of southern Italy including modern Campania, Apulia, Calabria, and Sicily). However, there is very little evidence for similar glass objects in central Italian and Roman contexts until the mid-first century B.C. The reasons for this are unclear, but it suggests that the Roman glass industry sprang from almost nothing and developed to full maturity over a couple of generations during the first half of the first century A.D. Doubtless Rome’s emergence as the dominant political, military, and economic power in the Mediterranean world was a major factor in attracting skilled craftsmen to set up workshops in the city, but equally important was the fact that the establishment of the Roman industry roughly coincided with the invention of glassblowing.

This invention revolutionized ancient glass production, putting it on a par with the other major industries, such as that of pottery and metalwares (as 20.49.2-12). Likewise, glassblowing allowed craftsmen to make a much greater variety of shapes than before. Combined with the inherent attractiveness of glass-it is nonporous, translucent (if not transparent), and odorless-this adaptability encouraged people to change their tastes and habits, so that, for example, glass drinking cups rapidly supplanted pottery equivalents. In fact, the production of certain types of native Italian clay cups, bowls, and beakers declined through the Augustan period, and by the mid-first century A.D. had ceased altogether.However, although blown glass came to dominate Roman glass production, it did not altogether supplant cast glass. Especially in the first half of the first century A.D., much Roman glass was made by casting, and the forms and decoration of early Roman cast vessels demonstrate a strong Hellenistic influence.

The Roman glass industry owed a great deal to eastern Mediterranean glassmakers, who first developed the skills and techniques that made glass so popular that it can be found on every archaeological site, not only throughout the Roman empire but also in lands far beyond its frontiers. Cast Glass Although the core-formed industry dominated glass manufacture in the Greek world, casting techniques also played an important role in the development of glass in the ninth to fourth centuries B.C. Cast glass was produced in two basic ways-through the lost-wax method and with various open and plunger molds.

The most common method used by Roman glassmakers for most of the open-form cups and bowls in the first century B.C. was the Hellenistic technique of sagging glass (81.10.243) over a convex “former” mold. However, various casting and cutting methods were continuously utilized as style and popular preference demanded. The Romans also adopted and adapted various color and design schemes from the Hellenistic glass traditions, applying such designs as network glass and gold-band glass to novel shapes and forms. Distinctly Roman innovations in fabric styles and colors include marbled mosaic glass, short-strip mosaic glass, and the crisp, lathe-cut profiles of a new breed of fine as monochrome and colorless tablewares of the early empire, introduced around 20 A.D.

This class of glassware became one of the most prized styles because it closely resembled luxury items such as the highly valued rock crystal objects, Augustan Arretine ceramics (as 10.210.37), and bronze and silver tablewares (as 20.49.2-12) so favored by the aristocratic and prosperous classes of Roman society. In fact, these fine wares were the only glass objects continually formed via casting, even up to the as Late Flavian, Trajanic, and Hadrianic periods (96-138 A.D.), after glassblowing superceded casting as the dominant method of glassware manufacture in the early first century A.D. Blown Glass SOMETIME AROUND 70 B.C., in Jerusalem, someone realized that, if you took a glass tube — then the stock for mass production of beads — sealed one end and blew into the other, you could create a glass bulb. Blow hard enough and long enough, and you could make a small bottle.

This was glassblowing at its most primitive. It is quite possible that, without further refinement, this moment of experimentation might have passed unnoticed. A couple of decades later, however, the introduction of a separate blowpipe, together with a tool-kit of variously-sized pincers and paddles, made it possible to blow and shape glass with much greater control, and with much greater novelty.

The new technology revolutionized the Italian glass industry, stimulating an enormous increase in the range of shapes and designs that glassworkers could produce. A glassworker’s creativity was no longer bound by the technical restrictions of the laborious casting process, as blowing allowed for previously unparalleled versatility and speed of manufacture. These advantages spurred a rapid evolution of style and form, and experimentation with the new technique led craftsmen to create novel and unique shapes; examples exist of flasks and bottles shaped like foot sandals, wine barrels, fruits, and even helmets and animals.

Some combined blowing with glass-casting and pottery-molding technologies to create the so-called mold-blowing process. Further innovations and stylistic changes saw the continued use of casting and free-blowing to create a variety of open and closed forms that could then be engraved or facet-cut in any number of patterns and designs. But the potential of a technological idea will only come to fruition if its seed is planted in an encouraging cultural environment. During Rome’s Republican Era, in the dictatorial times of Sulla and Julius Caesar, such encouragement seems to have been lacking. In the Hellenistic world, the firmly established traditions of working glass — either by blending threads of it into closed vessel forms or by slumping glass over a pre-shaped model for open ones — were producing fine wares with which the infant technique of free-blowing could not yet compete.

In the Roman world, however, pottery was still the material of choice for everything domestic, from fish platters to perfume bottles, and no one seemed to be in any hurry to change that situation. Enter the Emperor Augustus. It is said that he had no love of foreigners; he viewed the appreciable numbers of them living in Rome around 10 B.C. as a potential source for the corruption of traditional Roman values. If I interpret his subsequent actions correctly, he wanted the Italian mainland to be far more self-sufficient wherever possible. So it was that Italian businesses in certain crafts — most obviously, pottery- and cloth-making — were encouraged to expand. The craft of glassworking now was adopted from the Hellenistic world with much energy and skill. An ancient Industrial Revolution was underway.

To get things moving, the Romans simply enslaved hundreds of skilled craftsmen in the eastern provinces, uprooting them from their homes and resettling them in the outskirts of rapidly-growing Roman cities. Pottery-makers were imported from Asia Minor, particularly from around Pergamum, and put to work at Arretium; Greek craftsmen were moved from Athens to Lyons and other cities in central Gaul; glassworkers were brought in from the provinces of Syria, Judaea, and Aegyptus — most likely from the cities of Sidon, Jerusalem, and Alexandria — and put to work in shops at Naples, Aquileia, and just outside Rome itself. There was an immediate market niche for glassware in Augustan times.

Like many ancient peoples, the Romans believed in an afterlife that was an idealized form of their worldly experience. According to its means, the family of each dead Roman was obliged to provide furnishings for the grave. Such furnishings always included regular domestic items — plates of food, flasks of wine, and so on — but it was also a tradition to include offerings of perfume. The Roman wealthy would put these offerings in bottles (unguentaria) made of silver or alabaster. The eastern craftsmen who brought with them the skill of glassblowing now offered the rest of the population an alternative in glass; to be sure, not something as elegant or colorful as might have been wished, but which everyone could afford. The free-blown unguentarium was one of the immediate and long-term successes of the newly emerging industry. Modern excavations have revealed many instances where a grave contains not just one or two but a couple of dozen of these, all mass-produced, each in a matter of minutes at most.

At the same time, glass captured the popular imagination by virtue of its translucency. You could see the color of wine in a beaker, or how well a bottle was filled even if it was sealed — which could not be said for items made of pottery, or indeed of bronze, silver, or gold. The production of wine glasses soared in the Augustan era, actually causing the demise of some of the pottery workshops that specialized in traditional beaker types. It was glass’s distinctive property of transparency that stimulated the Emperor Nero’s tutor, Lucius Seneca to observe that ” … Apples seem more beautiful if they are floating in a glass.” (Investigations in Natural Science I.6).

And, from the middle of the first century A.D. onward, squared-sided glass bottles — typically with capacities in the half- to one-liter range — were used for a great deal of the short-range movement of liquids such as olive oil and the popular fish sauce known as garum. Thus the industrialization of glassworking in the Augustan era came about through the influence of three distinct forces: First, by virtue of certain historical events (Augustus’s rise to power and his promotion of craft-centralization on the Italian mainland); second, because of a technical innovation (the invention of glassblowing in one of Rome’s eastern provinces); and third, the social pressure related to fashion or taste (a traditional link between perfumery and Roman funerary ritual). Change in the Roman glassworking industry was always most dramatic whenever all three of these forces came together at one time.

Usage of Roman Glass artifacts

At the height of its popularity and usefulness in Rome, glass was present in nearly every aspect of daily life-from a lady’s morning toilette to a merchant’s afternoon business dealings to the evening cena, or dinner. Glass alabastra , unguentaria, and other small bottles and boxes held the various oils, perfumes, and cosmetics used by nearly every member of Roman society. Pyxides often contained jewelry with glass elements such as beads, cameos, and intaglios , made to imitate semi-precious stone like carnelian, emerald, rock crystal, sapphire, garnet, sardonyx, and amethyst. Merchants and traders routinely packed, shipped, and sold all manner of foodstuffs and other goods across the Mediterranean in glass bottles and jars of all shapes and sizes, supplying Rome with a great variety of exotic materials from far-off parts of the empire. Other applications of glass included multicolored tesserae used in elaborate floor and wall mosaics, and mirrors containing colorless glass with wax, plaster, or metal backing that provided a reflective surface. Glass windowpanes were first made in the early imperial period, and used most prominently in the public baths to prevent drafts. Because window glass in Rome was intended to provide insulation and security, rather than illumination or as a way of viewing the world outside, little, if any, attention was paid to making it perfectly transparent or of even thickness.

Window glass could be either cast or blown. Cast panes were poured and rolled over flat, usually wooden molds laden with a layer of sand, and then ground or polished on one side. Blown panes were created by cutting and flattening a long cylinder of blown glass.

AN INDUSTRY THOUGH Roman glassworking certainly was, it was one that maintained a remarkable degree of dynamism over the centuries. The shape and decoration of two of its main products — the unguentarium and the wine beaker — were being modified every few decades, sometimes quite sharply, and there were many new items of glassware introduced that expanded the glassworker’s repertoire in significant ways. The way that the Romans committed themselves so heavily to the maintenance of good ports all around the Mediterranean coastline and of fine roads that criss-crossed the entire Empire on land was also critical for keeping the Roman glassmaking industry so dynamic.

Of course, the main purpose of such maintenance was to assure the easy movement of troops from one trouble spot to another, and of administrative information from one city to another. But these ports and roads also allowed the movement of people and their ideas. Signatures and inscriptions in Greek indicate clearly enough that eastern Mediterranean craftsmen settled at various places in northern Italy and central Gaul; that north African and Syrian soldiers were conscripted to serve in the army in northern England, thereafter to settle there as tradesmen; and that businessmen of every background and philosophical persuasion traded wherever it was to their advantage to do so. Thus, every Roman city became a social melting-pot where technical innovations could be passed on, blending with or displacing old ideas, sometimes in the space of just a decade or two.

The industrial activities of the Roman world responded accordingly, with a freshness of purpose and an ongoing rise in skill. Jewelry in the Roman Times Ancient Roman glass jewelry reached its height during the Augustan age, at the beginning of the Empire. This meant that in many ways the glass jewelry were deprived of much of the expressive freedom one might expect and hope for. The buyers of this fine artistic jewelry were the conservative political.

The period of peace achieved during the rule of Augustus and Augustus made this possible, especially after the vicious fighting of the Roman civil wars. Ancient Roman jewelry in earlier times was derived from both Hellenistic and Etruscan jewelry. In addition, as Roman jewelry designs freed itself of Hellenistic and Etruscan influences, greater use was made of colored stones such as: topazes, emeralds, rubies, sapphires, and pearls. Trojan and Cretan artisans of the Minoan period, although working at opposite ends of the Aegean region, crafted earrings, bracelets, and necklaces of a common type that persisted from about 2500 BC to the beginning of the Classical period of Greek art 479 BC – 323 BC. Roman jewelry was highly influenced by some of the designs of the places they conquered and established connections with. The creators spared no effort in making some of the most exquisite and ornamental compositions. Rings were a major symbol in the body of ancient Roman jewelry.

Ornamental Roman jewelry was worn by women of high status. They often wore jewelry on their ears, neck, arms and hands. Ancient Roman designs and fashion jewelry also included seal rings, amulets and talismans. The cameo and hoop earrings were introduced in ancient Roman times. Ancient Roman glass jewelry reached its height during the Augustan age, at the beginning of the Empire. This meant that in many ways the glass jewelry were deprived of much of the expressive freedom one might expect and hope for.

The buyers of this fine artistic jewelry were the conservative political. The period of peace achieved during the rule of Augustus and Augustus made this possible, especially after the vicious fighting of the Roman civil wars. The gold beads of ancient Rome were artfully shaped to create images of flowers and animals. The most common fact that is assumed by most is that the ancient Roman jewelry has a similar resembles to the Greek and Etruscan jewelry.

An assortment of Israeli handmade Roman glass jewelry at Bluenoemi Jewelry at the page.

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Turquoise Jewelry In The Spirit Of Tibet And The United States

Sep
3

Turquoise Jewelry In The Spirit Of Tibet And The United States

Amazing mysterious power stone

Surprising strength of the local stone

Why has such a beautiful gem light? It is because of its unparalleled beauty, makes it inconceivable that any people would be attracted by the magic.

Jewel pieces of the earth, the universe of products, although the rolling stones in the street is also a product of the universe, but in this one are extremely hard and has a gorgeous color of the stones there, let people feel it is beyond the power of the universe wisdom .

The strength of stone are all God wants to do is give you a present! Spent tens of thousands of years, combined with the delicate nature of various conditions that produce crystals so tiny. That after such a long mammoth project, it generates a gem.

Sun and water plant breeding, just as the energy plant as a natural, precious stones also need a variety of energy absorption edge edge grow. Overcome a variety of harsh conditions bred out of precious stones, is to have an incredible powerful forces! This is the china gemstone wholesaler known as the strength of one of the reasons.

Stone to the development of power need a lot of natural energy, of course, you can also say that the origin of gem itself has a powerful energy, while those on the place known as San Fa force is the Earth receives cosmic energy pathways. Energy is the place people in terms of spiritual sensibility. Moving around the environment changes because Ershi, many people will find that the physical condition and mental condition has changed so it! Will focus on living human on Earth is also based on a region with a reason, a place with a strong power to attract people to form a town near; the contrary, on Earth there are close to the barren land of human difficult.

The cradle of ancient civilization in the world almost all of the power rock of origin, this is not accidental. Egypt produces emeralds, turquoise produced in Mesopotamia, in the production of Maya and Inca civilizations in South America such as affinity for turquoise and jade, in India, diamond, sapphire and ruby so much power rock in these places are mined. These forces produce stone, gave birth to the great culture that is accepted the location of the power of the universe.

In the excavated remains of ancient civilizations around the power of rock, at the time was used for decorations, props, or slayer incantation, some even used to make drug treatment. Ancient power of the stones used to guard the body and make their own would not be natural disasters or evil invasion, sometimes used in the treatment of mental and physical aspects. Power Stone has the power of knowledge, these effects in their daily lives is very useful.

However, no matter what the human past, to use the power of rock purposes, why can not it in modern power applications development?

I think it was because the power of gems too, and together with the precious stones used on the reason for evil purposes! Now, is there to curse, hate, to meet the purpose and self-serving use of power stone, and this is not just to force the use of the chian jewelry supplier wrong stone, also part of the people on the strength of stone, therefore fear, and then stand away.

The new era, we once again of the power of rock close to, let us once again the opportunity to use it, so that the strength of the Earth Gem therapy, the further development of its power.

It can be said about the correct use of power stone, will become an important way we create the next one.

Power Stone real effect is to promote the flow of energy, adjusted to the direction to be moving. Smooth flow of energy can make you more sensitive, and seize the lucky, you can make your tentacles wider, which is fortunate because the stones will be brought to the owner, but also will host some of the original that is sensitive to susceptibility or hidden live ability to find out.

Stone does not own the master guide, if only want to get the magic and journeying to wait, what is also not available, make precious stones function is to play your strong will and sensibility. Gem not let your body gives rise to new forces, but to help you make already existing ideas and energy enhancement.

Although people with positive volatility can improve your strength, but also help the growth of negative energy may have evolved into making gem from the master. Removal of the emerald man with evil, if the owner of the moral is not high, gem will change color, even then high, then a beautiful china emstone wholesale, if not by the character who can match owned, then not only will not have any effect, they may lead to unfortunate, when you get the power stone, you must recognize this.

Communication to and precious stones, the most important thing is to abandon the original idea, and hold love. No matter how you cheat, deceive themselves, the power stone will be properly detected your energy, and it increased, reflected. Therefore, in the case of precious stones have feelings or events that occur, are reflected in your heart.

If you want to get out from the self or attachments, or make some efforts to reform their own, then strength of rock will be able to help you, because it can be adjusted to correct your sense of direction, and guide you into the lucky road.

Stone is a powerful force of energy minerals, if you always hold up the heart to the mind the beautiful words, the power of rock with powerful energy will help you.

Posted in Birth of Rock and Roll

Tags: Jewelry, Spirit, States', Tibet, Turquoise, United

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King Baby Studio Jewelry Something That Everyone Must Have

Aug
24

King Baby Studio Jewelry Something That Everyone Must Have

Mitchell Binder is a well known owner and designer of King Baby Studio jewelry. He wanted to be a jewelry designer, and in the 70′s, when he was still a teenager, he and along with his mother, from Jackson, Mississippi they moved to Los Angeles. It was at this time that music has a big effect with his new found spirit of idealism, and then he soon found new freedoms.

As he was fifteen, Mitchell became a jeweler apprentice and then soon thereafter, he began designing his very own batch of jewelry. Mitchell is a very charismatic person, he has that special personality that got him to where he is now, he made the right contacts and then swiftly became a famous “go-to jeweler” for famous and striving rock stars, and of course Hollywood. Soon enough, the biker and rider crowd caught on with the trend as well, and have unyielding requests to have their buckles and jewelry personalized by Mitchell. Mitchell is an avid biker himself, so he was more often considered the King Baby Studio jewelry’s origin as the “half of rock and roll and half outlaw biker.”

Mitchell was designing mostly for men’s jewelry and accessories, but he then soon took notice that there are a lot of women buying those jewelries for themselves. So in 2007, the King Baby Studio jewelry legitimately launched the Queen Baby line of jewelry for women, and King Baby Studio acclaimed immense success. The Queen Baby Studio’s jewelry line does take the marked King Baby’s signature look and adds a profound dose of feminine elements. As a result, the line is going beyond the trend and also the fads, these kinds of jewelry pieces will surely become real classics and will be able to stand the test of time.

The King Baby Studio jewelry that is based in Santa Monica puts forward handcrafted accessories and jewelry pieces that are unified with chunky sterling silver, and also with leather and precious stones. These are finely crafted pieces of jewelry that will be able to feature a rebelliously-inspired design that is combined with astounding craftsmanship. If the craftsman will use stainless steel, solid sterling silver, and their other feature materials, every single one of the King Baby necklace, King Baby bracelet, King Baby buckle and King Baby ring will surely be a superb and fantastic treasured staple with the rest of your jewelry collection.

King Baby Studio jewelry are cool statement pieces, and they are wonderful conversation starters, and they really characterize what that rock and roll inspired look is. You can pair them with your simple but classic basic white tee shirt and your trusty denims, or even with your cool leather jacket. King Baby Studio combines your stylish influence in place.

Mitchell Binder is a great artist and he shares his remarkable passion of art through his jewelries. A compilation of Custom Culture, Southern California style and Rock and Roll had never been so trendy at the same time long lasting.

Sweetbird of time necklace are very attractive available at http://www.maverickwesternwear.com

Sex, Chocolate and Jewelry

Aug
7

Sex, Chocolate and Jewelry

Forget about the 1960′s Flower Power credo: “Sex, drugs, and rock ‘n’ roll.” Toss out your DVD of the steamy 1989 erotic thriller “Sex, Lies, and Videotape.” In the health-conscious, food-obsessed, “bling”-oriented 21st Century, we seem to have stopped hurtling forward and started to move backwards Everything old is new again and we’re returning to a kinder, gentler era when gentlemen and ladies enjoyed sex, chocolate, and jewelry as the language of love.

Our Love Affair with Chocolate

3,000 years ago, Indians of Central America poured molten chocolate from one pot to another to create bitter drink with a froth on top, the part they liked best. Spanish conquistadores and missionaries took the beverage back to Europe, where it became fashionable with the aristocracy, who added sugar to it. Today, three centuries later, hot chocolate remains a favorite drink shared by friends, family…and lovers.

For a “pulse” on 21st Century chocolate, there’s no better place to go than the annual Fancy Foods Show. This year, the chocolate beverage of choice was a hot chocolate reminiscent of the “nectar of the gods” preferred by the Mayans and Aztecs. The steamy treat is made with a high-cocoa-content dark chocolate and (in response to the low-carb craze, no doubt) less sugar.

How does this cocoa fit in with romance? Chocolate bars are replacing coffee bars and liquor bars as the meeting place of choice for singles with a taste for love…and sweets. In New York City, the popular midtown hotspot “The Chocolate Bar” serves hot chocolate drinks including Classic Hot Chocolate, Spicy Hot Chocolate, and White Chocolate Caramel and iced chocolate beverages including Chocolate Shakers (served over ice, with espresso and whipped cream)

Our Love Affair with Sex

When it comes to sex, every forty years seems to signal the arrival of a new wave of permissiveness and freedom. In the 20′s, the world embraced “The Flapper Era”…and one another…with abandon. Tough times in the 30′s and 40′s put an end to the jazz babies, and gave birth to the tough, no-nonsense, almost asexual Rosie the Riveters who didn’t have time for pleasures of the flesh. (And a good thing, too, since men were at war.)

As the 40′s drew to a close, the “boys” came home to a booming post-war economy and produced a boom of their own — the Baby Boom. And when those baby boomers hit their stride in the 1960′s…the sexual revolution was born. Free love (and a fair number of sexually transmitted diseases!) were the order of the day.

Power and influence became “sexy” in the 80′s and 90′s. It was a button-down time reminiscent of the 50′s, with preppie boys and girls emulating the dress, manner, and courtship rituals of their grandparents. That conservatism continues today, but the drumbeats of a new age can be heard in the lifestyle of Generation “Next.”

Our Love Affair with Jewelry

Throughout time, both men and women have worn jewelry for power and for protection from ghosts, deities, snakes, and even bill collectors! Our ancestors wore jewelry for good reason. Personal adornment and the use of bright, shiny items to attract a mate is as old as time. Jewelry is our way of showing off, spreading our “peacock feathers” to make a hit with the opposite sex.

Put on jewelry and you’re putting on protection. (Not that kind!) What we call jewelry is really the evolution of personal adornment that has its roots in power-bestowing charms and talismans. Today, fashion forward jewelry wearers covet “conventional jewelry,” but with a unique touch. Many of the unique pieces people wear today are rooted in cultural and ethnic traditions, interpreted in a decidedly 21st Century way. The goal is for jewelry to express a link between the present and the past.

Sam Serio is a Marketer and writer. For more on jewelry and gemstones, visit MORNINGLIGHTJEWELRY to get your FREE copy of “How To Buy Jewelry And Gemstones Without Being Ripped Off.” Get your FREE report at http://www.morninglightjewelry.com.

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