FRAMING MINIATURE PORTRAITS IN THE 17TH CENTURY AS JEWELLERY

Abstract

The article explores the influence of polycode and syncretism on art, particularly on portrait miniatures. The history of this form of painting, its emergence, flourishing, and decline, as well as creation techniques and usage methods, are analysed. Miniatures were not just portraits, but valuable decorations or precious gifts. The framing of portrait miniatures as works of jewellery art is investigated, the materials and techniques used by masters for portrait frames are identified, and their stylistics, symbolism, and functional purpose are characterized. It is found that portrait miniatures are one of the types of syncretic art that combines various artistic techniques and creation methods. The framing of artistic miniatures should be studied as a separate artistic unit in the context of the jewellery genre of art. The appearance of the miniature demonstrates the style of the era and personal preferences of its owner. Portrait miniatures are considered one of the constant attributes of the power of European monarchies of their time. Purpose of the article is to analyse the ways of framing portrait miniatures of the 17th century that have survived in their original form to this day or are depicted in other works of art, in particular, paintings. Methodology is based on the historical method, which traced the beginning of the history of the whole trend in jewellery related to miniature portraits. The application of the systematic method revealed that for more than four centuries, from the 16th to the 19th centuries, these items were a popular attribute not only of royalty, but also of court nobles and people of high status in the society of the time. The synthesis method was used to establish that jewellery has always been an integral part of the image of the monarch and the ruling elite in European countries. Results. The established principle and process of creating portrait miniatures demonstrates the syncretism of different genres of art. It has been found that artistic miniatures are difficult to attribute to a particular art form in its pure form, because their production involved not only artistic skill. From the time of their origin and throughout their popularity, portrait miniatures were used as a marker of belonging to a particular social class, they served as a body ornament or costume element. They were often made as a gift, which had a certain symbolic meaning and, often, a political context. In fact, the portrait miniature fully combined two artistic genres: portrait and jewellery. It was found that the technique of creating portraits remained unchanged for centuries: they were most often made on enamel, less often on parchment or paper with oil paints. The technique of framing artistic miniatures demonstrates the use of various styles, techniques, and materials. Scientific novelty lies in the analysis of the framing of miniature portraits as valuable objects for research in the context of jewellery. In addition, most of the miniatures have not survived to this day in their original form, and the few specimens that have not been disassembled for the purpose of selling precious elements are of great value to the history of human culture. Practical relevance of the work lies in the use of the research for lectures and practical classes, accompanying materials to works of miniature in the collections of Ukrainian museums and further systematic study of portrait framing in the 17th century.