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Estonian Academy of Arts
Department of Jewellery and Blacksmithing
TOWARDS PERFECTION
VIRTUAL AESTHETICS OF POST-DEATH
Thesis by Sofja Markarova
Supervisors:
Associate Professor Piret Hirv
Eik Hermann, MA
Text Editor:
Daniil Popov
Tallinn 2015
2
AUTHOR DECLARATION
I hereby certify that I am the sole author of this thesis and that no part of this thesis has been
published or submitted for publication. I certify that, to the best of my knowledge, my thesis
does not infringe upon anyone’s copyright nor violate any proprietary rights and that any
ideas, techniques, quotations, or any other material from the work of other people included in
my thesis, published or otherwise, are fully acknowledged in accordance with the standard
referencing practices. I declare that this is a true copy of my thesis it has not been submitted
for a higher degree to any other University or Institution.
Sofja Markarova
CONTENTS
INTRODUCTION ................................................................................................................................. 4
DEATH PARADOX ............................................................................................................................. 7
LIMINALITY ..................................................................................................................................... 8
DEATH AESTHETICS ........................................................................................................................ 9
VISUALIZATION ERROR ............................................................................................................. 10
ETERNITY .......................................................................................................................................... 11
CELESTIAL HIERARCHY ............................................................................................................. 12
JEWELLERY HIERARCHY ........................................................................................................... 17
HOMEOSIS ......................................................................................................................................... 18
NATURAL = ARTIFICIAL ............................................................................................................. 19
ORGANIC – ARTIFICIAL .............................................................................................................. 19
REAL – VIRTUAL – POTENTIAL ................................................................................................. 20
NATURAL A – NATURAL B ......................................................................................................... 21
SUPERSYMMETRY .......................................................................................................................... 21
MONOCHROMATISM ..................................................................................................................... 23
MATERIALS AND TECHNIQUES ................................................................................................. 25
APOTHEOSIS..................................................................................................................................... 27
CONCLUSION ................................................................................................................................... 30
RESÜMEE ........................................................................................................................................... 31
REFERENCES .................................................................................................................................... 34
PICTURES OF WORKS ................................................................................................................... 38
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INTRODUCTION
The main objective of the thesis is the exploratory preparation for my practical project –
family of jewellery, which attempts to bring together the themes of sacrality, divinity and
virtuality. The intended jewellery represents a manifesto of latent divinity on the basis of
jewellery’s shape, chromaticity and substance. Primarily, the emphasis on the aforementioned
aesthetical characteristics gives the objects monochromatism, which basically focuses
viewer’s attention on the shape of the object. Symmetry, as well as usage of artificial
materials, reveals to a viewer the purity of a form. In a certain sense it is even imitative,
virtual. Translucency of the elements is a metaphor of its disappearance and liminality. The
body of work consists of pendants and necklaces only. This approach is determined by the
drastic focus on the concept of jewellery autonomy, freedom of jewellery from the body.
Therefore it denotes the elimination of any base and earthly thing.
In such a manner, the jewellery appears by means of death analysis. In general, death is
unappreciated, marginalised and covered with a variety of clichés. First and foremost, this
study is dictated primarily by the necessity of the opposition to this paradigm. Secondly, a
need hides in my subconscious - I greedily look for the reconsideration of the death concept.
It is vital to explain the format of the thesis. In a certain sense, this is the path, confession and
self-analysis that I want to share with the reader, the path in which I faced a dilemma of
inability to visualize death. Considering that death research is not just a gentle flirtation, I set
myself a goal to define the possibility of visualizing death by means of the sensibility -
sensation, perception and understanding.
An important starting point of this work is a theology, that helps to see the subject of the
thesis from a new angle. By virtue of the fact, that death itself is ephemeral and
unvisualizable, I narrowed my subject to the post-death. By separating this thesis from the
ordinary perception of the phenomenon of death, looking beyond the social perception, it also
includes a theological component - Celestial hierarchy - in favor of a new interpretation of
mortality.
Thus, the specific steps that are necessary to achieve the aforementioned goal are represented
as a consideration of the material through the chain of transformation and integration
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(natural-artificial-supernatural), as well as definition of the concepts of supersymmetry and
monochromatism. In this way the object of the research is the assimilation of the shape,
material and colour of the jewellery to the godlike qualities that will be described in the
“Celestial hierarchy” chapter.
Despite the fact that death research collectives include interdisciplinarity and wide variety of
methodological solutions, research dominant is secular. Thus, the starting point of that kind
research is the social aspect, and it is conducted from the neutral or external point of view. I
wanted to approach the subject of death existentially.
Moreover the format of path lends this work a tone of personal significance. That is why the
purpose of the body of work cannot be limited by a special event. It cannot be intended for a
specific audience or subculture. The jewellery is created as a result of the research. It
possesses a self-sufficient value, as it achieves its apotheosis in a form of autonomy and
independence from its owner and even from its author.
The thesis consists of two parts. The first one presents the body of work, a list of which can
be found at the end of the text. The second part is analytical. It describes in details the process
of godlike jewellery creation. Thesis consists of an introduction, eight chapters, conclusion,
references and list of works.
The general structure of the thesis is as follows:
1. Revelation of death paradox.
2. Revelation of inability to visualize death.
3. An attempt to visualize death in contraposition to eternity.
4. A parallel between death and post-death.
5. A parallel between Celestial and jewellery hierarchies.
6. The possibility of material transition by virtue of homeosis.
7. Essential ways to visualize post-death by means of monochromatism and symmetry.
8. Jewellery’s absolute autonomy by means of apotheosis.
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The first part of the thesis is meant for purely mental and conceptual thinking about the
nature of death, post-death and aesthetics, while the climax of the thesis begins with a chapter
“Homeosis”. The final part “Apotheosis” is a denouement.
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DEATH PARADOX
Anselm Strauss (1992, p.ix.) in his sociological review monograph “The Sociology of Death”
outlined a strange paradox. On the one hand, in modern society death is a taboo and there is
not that much people who seriously want to discuss its specific character. On the other, it is
hard to find any media publications, that exclude facts of murders, suicides, accidents and
tragedies. While avoiding any analytical and thoughtful conversation about death, public
discourse at the same time absorbs any mention of the tragic event as a sponge. Talk of death
is unwanted, but it is impossible to pass by the accident without stopping and looking at it.
Death is displaced from home to hospital or medical centre. Tendency to develop life-
extending technology also confirms the fact, that modern society wishes to triumph over the
death. “The use of metaphors or euphemisms that serve to soften the harshness of death (e.g.,
passed away, deceased, expired) clearly represents a culturally approved attempt to deny or
camouflage death’s impact on our daily lives.” (Hayslip, 2002, p.35)
As seen from said above, death attracts attention of the audience, but human beings tend to
avoid discussions, interpretations and images of death. “Have always known, know that we
can’t escape, yet can’t accept.” writes Philip Larkin in his “Aubade” poem (Poetry
Foundation, 2003). The poem clearly describes the depth of this conflict. However, fear of
death and discursive avoidance of general perception of it do not form a respect for life in any
way. As a result, the conflicting dissonance arises in the general perception of mortality.
The comprehension of death varies in different historical eras. Philippe Ariès (1992),
considering the problem of death as a problem of historical anthropology, identifies five
stages of change of the attitudes toward death. Therefore he believed that this change finds its
transition in the interpretation of the human being himself. According to Ariès (1992, pp.454-
487), we live in the era of the “invisible death”. On the other hand, the attention to mortality
increases today more than ever. Moreover, the person facing the complicated event is
characterized typically as self-analyzing and realizing his self-uniqueness.
For me personally, current work is extremely challenging. Analyzing death as a private or
general event is difficult, but I do not flirt with this topic. I interpret mortality as one big fear,
that we should go forward to and should not avoid thinking about it.
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Death is the strongest fear, that we tend to hide in the farthest compartments of our
consciousness. At the same time, it is infinitely attractive. This leads to simple and
paradoxical conclusion: in addition to the usual, repulsive side of death, there is a side that is
mortally beautiful.
LIMINALITY
Death is a phenomenon, that lies beyond our sensation. In particular, because of the notions
and events like this, Kant (1998, p.149) introduced the term ‘transcendental’, that literally
means ‘beyond possible experience’, something outside of our consciousness and cognition.
“I call all cognition transcendental that is occupied not so much with objects but rather with
our mode of cognition of objects insofar as this is to be possible a priori.”
The question of whether the transcendence of death is true or not, cannot be answered clearly.
On the one hand, death can be studied physically. It is a universal phenomenon inherent for a
vast number of systems. It is immanent in nature. On the other hand, death is a paradox.
Neither empirical testing has fully figured out its nature, nor theorization gave an adequate
representation of the mortality. We can’t experience death twice. Its chaotic nature is beyond
our consciousness. Its mystery is universal.
The transcendental nature of death rises from the liminality, that can be described as “relating
to a transitional or initial stage of a process” (Oxford Dictionary online, 2015). Its liminality
has a huge impact on my current project. It continuously includes tonality of incompleteness
and disconfidence. Consciously I could not comprehend death as an actual end. For a long
time it seemed to me, that there is an angle, from which we can perceive death as a beauty.
But here I experienced a dilemma: mortality is repulsive and therefore hides away from the
actual perception, and if so, is it possible to visualize death?
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DEATH AESTHETICS
The paradox of a death is explained in the previous chapters. The fact that each person
reflecting on death, faces with his own inner conflict, is undeniable. The solution for this
conflict is intriguing.
I started the analysis of death, because it seemed to me a phenomenal and conflicting event.
Above all, I was interested in death aesthetics. Death in its traditional repulsive character is
purely anti-aesthetical. In real life death is devastating. But if we assume, that inside almost
all of the taboo topics lies the most primeval beauty of culture, then a priori the theme of
mortality holds a certain grace.
Mirimanov have it that “the aesthetic apprehension of death emerges before art itself. As has
been shown, there are rare and subtle signs, and, perhaps, unconscious actions, usually
associated with burials. Ethics and asthetics in those cases are inseparable.” (2002, p.114)
It is also important to define aesthetics in relation to this work. The theory of sensibility is
called transcendental aesthetics by Kant. The definition of ‘transcendental’ is mentioned
above, and now it is necessary to define ‘aesthetics’. In line with Kant's contemporary period,
this particular notion meant the theory of sensibility - theory of sensation, perception and
understanding. However, another meaning of this word appears, that is - the theory of
creation and appreciation of a beauty.
“In whatever way and through whatever means a cognition may relate to objects, that
through which it relates immediately to them, and at which all thought as a means is
directed as an end, is intuition. […] The capacity (receptivity) to acquire
representations through the way in which we are affected by objects is called
sensibility. Objects are therefore given to us by means of sensibility, and it alone
affords us intuitions; but they are thought through the understanding, and from it arise
concepts.” (Kant, 1998, p.155)
Bear in mind, that aesthetics in this work is both the search for perfection through the theory
of the beauty, as well as sensibility, as it is explained by Kant. This symbiosis of two leads to
a very specific format - the creation of jewellery as a result of the self-analysis through the
theme of death. This analysis appears similar to the following: Kant's sensibility - perception
of death – theory of a beauty - desire for perfection – godlike jewellery.
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VISUALIZATION ERROR
That this is what we fear—no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.
(Poetry Foundation, 2003)
According to Rogozin’s analysis (2013), artists tried to visualize death from the most ancient
archaic times. However, in principle, death visualization is not possible, because there are
certain apophatic boundaries, taboos, liminality. Discussion of death is fundamentally
forbidden.
Death is ephemeral. This fact excludes the possibility to see or experience this phenomenon
in full capacity. In general empirical analysis, this experience is not possible. That is why it is
difficult to analyze or discuss this subject, in public or in the privacy of our conscience.
Ephemeral nature of death causes us to reflect on it more intuitively, than rationally. We use
‘conceptualization’, which allows us to get closer to the essence of death.
What do we see, while looking at the corpse of a man? Is it death? No, we see the corpse of a
man. Death constantly slips away from our view. When I tried to visualize death, I became
confused, like a little child. An attempt to find a way for visualization is ruined. The
undermentioned fragment from the novel by Lewis Carroll “Through The Looking-Glass
And What Alice Found There” (n.d., p.39) describes the situation precisely.
„The shop seemed to be full of all manner of curious things — but the oddest part of it
all was, that whenever she looked hard at any shelf, to make out exactly what it had
on it, that particular shelf was always quite empty: though the others round it were
crowded as full as they could hold.
‘Things flow about so here!’ she said at last in a plaintive tone, after she had spent a
minute or so in vainly pursuing a large bright thing, that looked sometimes like a doll
and sometimes like a work-box, and was always in the shelf next above the one she
was looking at. ‘And this one is the most provoking of all — but I’ll tell you what —’
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she added, as a sudden thought struck her, ‘I’ll follow it up to the very top shelf of all.
It’ll puzzle it to go through the ceiling, I expect!’
But even this plan failed: the ‘thing’ went through the ceiling as quietly as possible, as
if it were quite used to it.“
According to Rogozin (2013), death research epicentre occurs at the beginning of the 1970s -
1980s, and focuses on psychology, sociology and anthropology of death. However, despite
the fact that research collectives involve interdisciplinarity and a wide variety of
methodological solutions, research dominant is secular. Mostly the rejection of death as
something, that lies beyond the scope of social practices is strongly declared.
Nevertheless, anthropological review by Palgi and Abramovitch (1984), on works of death
starts with religious focus. Understanding death without the actualization of existential
questions is problematic. Only beyond the horizon of everyday life it is possible to construct
understanding and perception of this event. Thus, in an anthropological perspective
theological component becomes one of the central, defining directions for further research.
ETERNITY
In the early stage of current work death took all of the attention, but it turned out to be too
frustrative, approachless. Yet visualization error breeds sense. In this instance, guided by the
math logic x = a + b (x - MA project; a – eternity; b – death) I tried to use eternity as a
contraposition to death. However, the situation with eternity is the same as with death: it is
also the subject of numerous studies and there is a lot of results that allow us to get closer to
it. After all, true nature of it lies beyond our consciousness. We only imagine something very
big or small, never infinite or non-existent. It is inexpressible, yet the fact that it exists, is
undeniable. However, we have no experience with given notion.
Incapability to visualize death led the analysis to the subject of infinity. An attempt to use
infinity as a contraposition to mortality directly, failed. Logic x = a + b became an
intermediary (death – error – eternity – error) between the death phenomenon research and
inspiration, which will be discussed in the next subchapter. As noted above, infinity lies
12
beyond our consciousness. It has a transcendental origin, that avoids empirical laws.
Therefore it conveys the suggestion, that there is not a big difference between death and
eternity.
CELESTIAL HIERARCHY
It should be noted, that in the work of Rudolph Binion (1993, p.225) we can find “one of the
most important questions that arise in the context of the confrontation with death is that of
what comes after”.
Within the framework of this analysis, the ability to define the aesthetics of mortality is
defined in the context of the post-death. This is probably one of the many possible ways to
analyze the problem, but the emphasis on post-death is essential. Given approach does not
attempt to answer the question what comes after. The distinguishing feature of this work is a
certain perfectionism, that is set to break through the horizons of the ordinary perception of
death.
It is important to consider the phenomenon of death as something that goes beyond the
ordinary. The crucial idea of post-death becomes an answer to an enigma. What if post-death
is a kind of Orphean, idealized, enchanting event? What form will it assume in this context?
It is significant to define post-death. Whereas afterlife means “life after death” (Oxford
Dictionary online, 2015), it is too far from death itself, even if we hope for endless existence.
As far as present analysis proceeds from death, post-death narrows the topic, thus helps to
find the visualization language.
Shameless and conscious adaptation of the conflicting images of death and post-death is
caused by the fact, that mundane and sublime are equivalent in my opinion. Exactly at the
junction of these two concepts, something truly attractive arises, that is actually a taste of our
reality.
Through the topic of post-death, I met with quite a personal, intimate experience, that can be
described as the Stendhal's syndrome attack. This syndrome appears as a psychosomatic
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disorder attended by rapid heartbeat,
dizziness, fainting and confusion,
“when an individual is exposed to an
experience of great personal
significance, particularly viewing art”
(Oxford Dictionary online, 2015).
This comparison describes exactly
my feelings related to the image of
the Cherubim (see Figure 1), given in
the iconography. These feelings
appear in the form of blinding
inspiration on the actual project.
Moreover the image of the Cherub is
associated with death, it does not
identify life.
Most of all I was excited by the idea,
that Cherub’s body and wings are
covered with eyes, which generally
function as a guide of knowledge.
Without a doubt, the eye is one of the
most mythologized elements of the
body - the mirror of the soul. Eyes
revive and sacrifice the image.
Supernatural beings covered with a
multitude of eyes appear as a
phenomenon, passion. Sometimes it is impossible to look into the eyes of the person you are
talking to - beyond belief the essence of the idea to meet Cherub’s gaze. It is beyond my
understanding in any absolute way, but the fact that Cherub is the shape of my desire is
ultimatistic.
Figure 1. Cherub in the similitude of the Tetramorph hovering over the
Thrones. (1213). Drawing of the fresco fragment from the Monastery of
Vatopedi on Mount Athos.
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Since Cherubim refer to the heavenly hierarchy (see Figure 2), which includes other angels
too, it is advisable to look into the nature of this hierarchy in general, and therefore express
the post-death.
Celestial Hierarchy
First sphere – (closest to God) Seraphim, Thrones, Cherubim
Second sphere – Dominions, Virtues, Powers
Third sphere – Principalities, Archangels, Angels (closest to a human)
Figure 2. Icon of Nine orders of angels. (18 c.). Depicted with an
illuminated triangle, a symbol of the Trinity. Greece.
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1. Of the Seraphim, Cherubim and Thrones, and their first Hierarchy. Spiritual
level
“The name Seraphim clearly indicates their [---] unhidden, unquenchable, changeless,
radiant and enlightening power, dispelling and destroying the shadows of darkness” (The
mystical theology and the celestial hierarchies of Dionysius the Areopagite, p.38). Seraphims
are firelike, flaming and igneous. Their name translated from the “Hebrew seraph, which
means ‘to burn’, ‘to scorch’” (Giorgi, 2005, p.301). The fire is uncontrollable; it overcomes,
wins and has an effect on everything that it comes in to a contact with; it has transforming
power and associates with everything that approaches him; it is volcanic, skyward, high;
ever-moving and self-moved.
“The name Cherubim denotes their power of knowing and beholding God, […] they are
filled by participation in Divine Wisdom, and bounteously outpour to those below them from
their own fount of wisdom.” (The mystical theology…, p.38). The name of the Cherub is
translated from Hebrew as effusion of wisdom, because through the Cherubim wisdom and
knowledge bestow down to the lower ranks of the Celestial Beings. These creatures are also
often shown as all-seeing, with numerous eyes on their wings - an image relating to the
aforementioned effusion of wisdom. Moreover Cherub is a tetramorph - “a living being with
four natures: ox, lion, man and eagle” (Giorgi, 2005, p.308).
“The name of the most glorious and exalted
Thrones (see Figure 3) denotes that which is
exempt from and untainted by any base and earthly
thing [---]. But from their simplicity, they have
attributes of unity, power, strength, fortitude,
stedfastness. […] Steadfastness comes from
simplicity, simplicity from purification. [---]
Moreover, when a thing is purified, it is illuminated,
and after it is illuminated, it is perfected” (The
mystical theology…, pp.38-39). Thrones are the
carriers of the Throne of God, wherefrom comes the
name. They are wheels covered with eyes, in the iconography usually depicted in the form of
a ring within a ring.
Figure 3. Thrones. A fragment of the miniature
"New Testament Trinity with angels". (Mid-to-
late XII century). Byzantian manuscripts of the
New Testament. Vienna, Austrian National
Library.
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Thus Dionysius the Areopagite describes the first Hierarchy. The bodiless powers of the first
sphere are abstract, but they embody perfection, a godlike identity. “In the same manner they
are perfect […] because they are wholly perfected through the highest and most perfect
deification, possessing the highest knowledge that Angels can have of the works of God;
being Hierarchs not through other holy beings, but from God Himself” (The mystical
theology…, p.40). Since the first sphere of the hierarchy is the most powerful, perfected and
extraordinary for perception, the second and third spheres are hardly involved in this work.
2. Of the Dominions, Virtues and Powers, and their middle Hierarchy. Mental level
“Dominations symbolize the divine power over all creatures. [---] Virtues are the angels of
the miracles. They are allowed to meddle in all that relates to the physical laws. [---] Powers
protect the world from demons.” (The mystical theology…, pp.43-45)
3. Of the Principalities, Archangels and Angels, and their last Hierarchy. Mundane
level
“Principalities are the angels that protect the religion. [---] Archangels control and guide
Angels, [---] which, in turn are the main mediators between human beings and the higher
spiritual world.” (The mystical theology…, pp.46-49)
Thus we have examined the first hierarchy in detail, the second and third briefly. Now, in
general, we understand the reason for the perfection of the described beings, especially the
beings of the first sphere. The diagram below (see Figure 4) shows the cultural clash of
sociology and theology, concerning the subject of death. The region marked with the red
colour is the original aim of my work ‒ death itself.
This area of human knowledge, where sociological
and theological meet, theme of death and celestial
hierarchy intertwine, empowers me to expose the
aesthetics of post-death.
Figure 4. Sociology and theology correlation.
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JEWELLERY HIERARCHY
Now we can apply the aforesaid to the jewellery hierarchy. The purpose of this chapter is to
define the jewellery hierarchy in general, as well as to define in particular the body of work
created in parallel to the post-death analysis.
Following hierarchy is in some way based on the Angelic hierarchy. It is also divided into
three spheres - spiritual, mental and mundane.
1. The spiritual sphere involves not only religious or ritual jewellery, but also that kind of
items, described by Mah Rana (2006) as “I never take it off”. In other words, “that has
become part of one's personality and that is never put away” (Den Besten , p.24). The
most private, almost intimate pieces that may not carry material value, but hold inside a
certain symbolic or notable meaning for the owner.
2. The mental jewellery is distinguished by its unique character, message and cultural
significance. This group may also include jewellery, that we can say about “I never put in
on”, so as not to lose or damage a unique or significant object.
3. The mundane jewellery needs public, statuses and social connections. This sphere is the
closest to the human beings and the most common, popular. The central idea of this
sphere is decoration, which in no way diminishes this group compared to the spiritual or
intellectual.
According to Dionysius (The mystical theology…, p.29), the aim of the Celestial hierarchy is
“the greatest possible assimilation to and union with God”. In other words, a possible
assimilation to its origin. Reasoning from this fact, human being is in some sense an ‘origin’
for the jewellery, for which “I never take it off” is the highest rank. This kind of jewellery
becomes a part of the person.
It should also be noted, that the body of work in this context represents an ambition to reach
the highest spiritual sphere of the hierarchy. However, it is still placed in the mental sphere
for no other reason than even though it carries a private, intimate experience, it is still not a
part of my personality that I never put away.
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As presented to the reader, body of work becomes clearer. It should be noted that “the role of
an angel is defined by its proximity to the throne of God, and it is the proximity to the throne
of God that forms a natural hierarchy” (The mystical theology…, p.51). If angels are different
in role and appearance, then the body of work forms a single whole, which in turn tends to
godlike properties - purity, light and perfection.
In conclusion, it may be said, that the pursuance of the godlike perfection is quite authentic in
its intention, but it is also chaotic, shameless and uncompromising. Within the framework of
this analysis, bear in mind the fact, that the aim is achieved by means of monochromatism,
symmetry and material variability, that is represented in following chapters.
HOMEOSIS
Homeosis is a “transformation of one body part to another” (Wiktionary, 2015). “From Greek
homoiōsis ‘becoming like’, from homoios ‘like’” (Oxford Dictionary online, 2015). Of
course, material transformation is not in the strict sense that, which ‘homeosis’ notion
defines, but there are some similarities, which, I think, are worth exploring.
In this chapter I want to determine the relationship between the natural, artificial and
supernatural. I am primarily interested in whether the homeosis on transition of the material
from one state to another is possible or not. This objective is achieved by analyzing the
processes that lead to the birth of new substance. Two identical chains are affected mainly:
natural – artificial – supernatural
real – virtual – potential
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NATURAL = ARTIFICIAL
Dr. Chandra Bose (Golberg, 2011) demonstrated the indivisible unity of all life, fundamental
unity between various inorganic and organic forms of being. He was the first scientist, who
studied inorganic matter in the same way as biologists study organic matter. “Bose performed
his plant experiments on rocks and metals, too. He found that, just like plants, the “non-
living” responded when subjected to mechanical, thermal, and electrical stimuli. Even rocks
and metals became numbed by cold, shocked by electrical currents, stupefied by anesthetics”
(Golberg, 2011). In the opinion of the Bose all organic and inorganic matters are determined
by an universal law, with the same rules for everyone.
Let us assume, that Bose places two contradictory concepts on the same shelf, rather than
confirms the possibility of transition from one state to another. In this case, the birth of a new
substance lies in the fundamental unity between inorganic and organic forms. This unity can
be interpreted in identical chains like natural – artificial and real - virtual.
ORGANIC – ARTIFICIAL
The archenemies of the modern consciousness are the concepts of natural and artificial. It
has been established that natural is good and far more useful than artificial. Daniel Kula and
Elodie Ternaux (2014, p.346) argue that “Nature evokes tradition and the past. Whereas
‘Artificial’, seems to make us think more of the future and the unknown.”
We separate natural material from the artificial, but the border between the conflicting
concepts is blurred. Is the difference between materials that we see as natural, for example
wood, and its artificial result in the form of a chair, really that big? Earth oil – plastic? The
only difference is that both the chair and plastic have been processed by a person.
It should be noted, that this paradox is described “as the thickness of artificiality which
actually seems far more apt away to characterize matter: by its degree of transformation.”
(Kula and Ternaux, 2014). That is to say, degree of transformation, for example of a plastic,
20
occupies the highest step of artificiality because the properties of an earth oil have changed
profoundly. However, plastics are typically organic polymers.
Thus, one and the same material manufactured by a man can be both natural and artificial.
Process that leads to the birth of new essences in this case is a degree of transformation.
REAL – VIRTUAL – POTENTIAL
According to nonlinear dynamics, “the study of any phenomenon which exhibits dynamical
behavior usually begins with the construction of an associated mathematical model of a
dynamical system in the form (1-2-1)” (Shilnikov, Shilnikov, Turaev and Chua, 1998, p.32).
Philosopher Afanasyeva (2014) in her thesis “Deterministic chaos” analyzes the connection
between real, virtual and potential.
“Real, virtual and potential are three types, three ontological levels of existence -
complete existence, incomplete existence and non-existence (otherness). [---] The
main conclusion of the analysis is that existence and non-existence are not static
entities, but various kinds of dynamics. From the point of view of nonlinear dynamics,
some of the phenomena, that are rejected by the natural sciences, [...] are allowed, if
there is a dynamic system corresponding to such processes.”
The given transition is the most speculative and vulnerable. However, by the “Methods of
qualitative theory in nonlinear dynamics” we can assume, that switch from one state to
another is possible. Thus, science, and in particular nonlinear dynamics, does not exclude the
possibility that the metamorphosis is real. Interpretation can also obtain the chain natural -
artificial - supernatural. The process that leads to the birth of new essences in this particular
case is desire, dynamic behavior.
21
NATURAL A – NATURAL B
On the physical level change of the material is not something extraordinary. For example,
there are metamorphic minerals, that are a product of transformation or “solid-state
recrystallization of existing (protolith) igneous, sedimentary, and metamorphic rocks, due to
change in physical and chemical conditions, principally temperature, pressure and
introduction of chemically active fluids and gases. [---] Types of metamorphism are
dynamic/kinetic, contact, regional and plutonic. [---] Regional metamorphism, caused by
general increase/decrease in temperatures over large areas of continental crust, creates low-
/high-grade metamorphic rocks like slate, phyllite, amphibolites, varieties of schists, para-
and orthogneisses, quartzite, and marble” (Haldar and Tišljar, 2013).
Thus, process that leads to the birth of a new essences in this case is the physical
transformation, natural evolution of a material.
SUPERSYMMETRY Symmetry + chaos = perfection
Egoistic chaos, too formed monotony symmetry.
Inspired by the image of the Cherubim, I found a form, that is close to the same perfection,
that carries this supernatural being. The form resembles the shape of wings that cover the face
and feet of this angel. As far as Cherub embodies the idea of perfection, effusion of wisdom
and closeness to God, the idealization of the form of jewellery is expressed in terms of
supersymmetry (see Figure 5). Since Cherub is the one who represents perfection,
‘supersymmetry’ relates to this creature entirely. The form of jewellery conveys symmetry,
which seeks to perceive the pitch of perfection of an angel.
In the first paragraph of his famous book “Symmetry”, Hermann Weyl (1952, p.3) discussed
the possible link between symmetry and beauty. “Symmetric means something like well-
22
proportioned, well-balanced, and symmetry denotes that sort of concordance of several parts
by which they integrate into a whole. Beauty is bound up with symmetry.”
However, one may notice, that symmetry in the particular jewellery forms barely reaches the
supersymmetry that Cherub carries. Chaos in these forms is manifested primarily in the form
of shameless ambition to become perfect, to reach the level of Celestial perfection.
Perfection in the
context of current
work is presented
as a result of
unity, symmetry
and chaos
symbiosis. Yet,
specific position
of this symbiosis
in general requires
a separate
presentation of the
symmetry and
chaos relation.
Figure 5. Convocation of the Archangels. (1500). Tablet icon. Novgorod.
23
Symmetrical is attributed to the correct, balanced, methodical, logical,
and beautiful. But it looks almost imitative, when it stands alone.
Therefore, symmetry is order, whereas asymmetry is disorder, chaos.
McManus (2005, p.157) in his work “Symmetry and asymmetry in
aesthetics and the arts” writes “Asymmetry probably results most
effectively in beauty when the underlying symmetry upon which it is
built is still apparent.”
Psychologist Rudolf Arnheim (1988, pp. 8, 15) maintains that
“Symmetry means rest and tie, asymmetry means movement and
detachment. Order and law here, arbitrariness and chance there;
stiffness and compulsion here, liveliness, play, and freedom there.
[…] On the one extreme […] the stiffness of complete standstill; on
the other […] the equally terrifying formlessness of chaos.”
It appears from those statements, that chaos and symmetry, as well as
disorder and order, are closely connected. They do not exist
separately. Chaos gives birth to life, symmetry regulates it. Symmetry
creates beauty, chaos transforms it into perfection.
Unlifelike symmetry (see Figure 6) helps to identify post-death, as
well as chaotic nature of jewellery. Its egoistic desire is absolutely
disordered, but it moves the main idea closer to the supersymmetry
perfection.
MONOCHROMATISM
Whereas form is related to the shape, contour, volume, symmetry and asymmetry, which are
quite exact terms, that describe presence of the object, the colour phenomenon is more
complicated.
Figure 6. Sketch.
24
Pursuit of perfection is not limited by form. Ephemeral nature of the post-death, that is even
more elusive than death itself, is similar to the monochromatism, which is placed between
visible and invisible, appearance and disappearance, genesis and elimination. Monochrome
object carries certain understatement, which is typical for the thesis subject.
Oxford Dictionary online (2015) have it that monochromatism is “complete colour blindness
in which all colours appear as shades of one colour” Thus, monochromatism is a certain
colour asceticism and therefore innuendo, enigma, liminality, in which form dissolves into
itself. It appears as antithesis to the colour oversaturation and overdose.
According to the artists belonging to the Analytical Cubism movement, color interferes with
viewer’s attention, to focus on the shape of the object. In the works of Picasso and Braque in
particular, monochromatism dominates instead of an emphasis on color, “so by looking at the
painting person did not pay attention to colour, but only to the shape and the form. This
emphasis on structure led to colour being downplayed, so as not to distract the viewer. [---]
Such an austere colour scheme avoided any suggestion of mood and emotion, and left the
composition devoid of naturalistic and other symbolic or narrative associations, to allow the
viewer to focus on the structural aspect of the painting” (Encyclopedia of art education,
2015). Same opinion is shared by photographer Kimiko Yoshida (2004). She says
“monochrome is endlessly erotic for the eye. It is a pure shape of extension, in which dissolve
all shapes and all narratives. It is here, in front of endless colour, eyes open infinity of time.”
The number of colours that appears on a polychromatic object tends to be limited, in as much,
as it can be counted. In contrast, monochrome gives a chromatic infinity, which is a temporal
infinity. Even when gaze continually contemplates infinite shades of the same color, it does
not exhaust itself over time. It can be perceived as a metaphor of erasure and disappearance,
the sign of virtuality and intangibility, the symbol of infinity. Monochromatism is a pure
figure of duration, in which all images and all narrative dissolve.
Achromatism inherent to the caoutchouc, which is used in this context as a main jewellery
material, is appropriate if we talk about post-death. In this case, the gaze sees no colour.
However colourless material does not exclude the form. Moreover, transparency allows to
look through and see what is hidden from the eyes in opaque object.
25
Monochrome color is a metaphor of freedom, for which the body of work seeks passionately.
Monochrome jewellery is the quintessence of virtuality. This is the moment when jewellery is
liberated from worldly limitations, moreover it merges with the post-death, transforms into
godlike essence. It provides an opportunity to see the unseen.
MATERIALS AND TECHNIQUES
Come round to the “Natural = artificial”
subchapter, it should be noted, that when
material changes without human
intervention, the final material as well as
original is natural. Hence valuable and
useful. Is it possible in this case to suggest,
that human intervention in the structure of
the material is not as valuable as
intervention of the nature? And if it’s true,
doesn’t it mean, that jewellery does not
have the same power as frozen icicles for
example? Or should our judgement be
based on the degree of material
transformation? If it is so, should we
conclude from that, that plastic jewellery
eliminates the possibility to climb the
hierarchy of material values?
Figure 7. 3D model.
26
A great deal of materials (see Figure
8), such as pony fur, feathers, rigid
foam etc. fitting the aesthetic point of
the thesis, were rejected for no other
reason that it didn’t fit the concept of
the chain of metamorphoses of a
material. To assimilate with its origin,
in this case with the supernatural
beings, jewellery should get a brand
new quality, which in turn will lead it
to the apotheosis. Based on the
above, it is necessary to explain the
choice of materials.
Important feature of the thesis is my
desire for jewellery to obtain
virtuality, which is in my opinion the only true artificiality of today, that really distances us
from the anxiety and attachment to the ‘natural’. Virtuality gives us an opportunity to invert
the hierarchy of materials and include those, that lie at the bottom of the value chain, similar
to those usually defined as rubbish. Avoiding natural materials, I impart to jewellery the
virtuality and otherness, which corresponds to the previously considered chains of natural -
artificial - supernatural and real - virtual - potential.
Predominant materials for the body of work are polyurethane plastic and urethane rubber ‒
materials that lie at the bottom of the value chain. On the other hand, I confidently combine
given artificiality for example with a precious metals, which are situated on the top of the
value chain.
Considering, that for me it is important to keep the purity of a form, I avoid an abundance of
colours (see as above from the “Monochromatism” chapter) and materials. This type of
Figure 8. Material variations.
27
asceticism allows us to focus all attention on the
jewellery, its essence and nature. Nothing distracts the
senses. Repeating material flows from one point to
another, thus forms a wholeness. I reject all unnecessary.
Striving for perfection dictates this kind of asceticism.
These days high technologies like 3D (see Figures 7, 9,
10) printing and CNC milling almost accomplish the
virtual perfection of the form, thus removing the author
as far as possible from the role of the ‘creator’. Using
3D printed form as a prototype, it is possible to
reproduce it by casting. It is like a perfect DNA cell that
can be multiplied into an army that rejects any
imperfections. Machine in opposition to a man never
thinks approximately, and therefore operates
according to certain idealized settings.
As it turned out, the form created via 3D model - mold - casting allows the chance of author
intervention. Some kind of author’s personality gets into a jewellery while handling, cutting
and polishing it after casting, while jewellery as a result of CNC milling becomes closest to
the autonomy – it rejects any intervention.
In conclusion, it can be added that striving for perfection and godlike qualities is determined
primarily through the material. Thus, using artificial materials, I turn the hierarchy of material
values upside down and erase the boundaries between artificial and natural. This in turn
moves further ambition for virtuality.
APOTHEOSIS
Apotheosis is the culmination of this thesis. To understand the meaning of this notion, we
should go back to the origins of this thesis and consider it step by step. Inability to visualize
death, and then contraposition of death to eternity, led this analysis to a more narrow topic of
Figure 9. 3D model.
28
post-death. Actualization of existential questions, as well as inclusion of theological
components to the thesis makes it possible, to look at death through the prism of the Angelic
hierarchy. Qualities that are confined in its essence are perfect and egregious. This
quintessence is a main motivation to achieve perfection by means of jewellery.
Figure 10. 3D model.
The perfection of angels of the first hierarchy is a reflection of assimilation with its origin,
God. Whereas jewellery perfection is the result of assimilation to Angelic perfection, because
it is the origin of jewellery in this particular case. Perfection is not in any case the endpoint, it
is a cathexis, infinite desire for it.
Monochromatism, symmetry and homeosis pose a metaphor of a godlikeness and post-death,
which are closely intertwined in the “Eternity” chapter. This metaphor evokes the birth of the
virtual nature of jewellery. As far as thesis in general is focused on death visualization by
actualization of the post-death concept, jewellery rejects any earthly origin. Thus it receives a
new status - theomorphic jewellery, from “Greek θεος, theos - God and μορφη, morphē -
shape or form” (Wiktionary, 2015).
Theomorphism becomes the result of virtuality, which in turn has led the body of work to
autonomy, independence, even from the author. Here it is worthy of note that using the
29
technology of 3D printing and CNC milling, as well as the materials that we used to call
artificial, I deliberately separated myself from the jewellery. But on the other hand, the
independence of jewellery is its highest point of development, the apotheosis. I do not
separate two interpretations of this concept: ‘the highest point in the development of a
jewellery, a culmination or climax’ and ‘jewellery elevation to the divine status’. In my
opinion climax in the context of this thesis and the body of work is the archetype, a prototype
of a divinity.
30
CONCLUSION
It is important to mention the very beginning of the conception of the subject - my rejection
of any existing approaches of death visualization provided by R. Binion (1993), P. Aries
(1992), V. Mirimanov (2002) etc. During the early steps of this analysis, I faced with a major
dilemma related to the subject - the inability to visualize death. Apprehension of the existing
interpretations of mortality, based on my personal experience led to the conclusion that
innovative consideration lies exclusively in self-analysis.
Beneath the phenomenon of death unveils the essence of beauty, that bears resemblance to
post-death. In self-analysis I consider the foundation of the dialogue between individual and
death. By analyzing the nature of the cultural-historical approach, I come to the conclusion
that only openness and self-transcendence of a man in relation to death gives rise to its true
comprehension, which goes beyond sociocultural factors.
By virtue of post-death essence Angelic hierarchy is integrated into the thesis and therefore
compared with the hierarchy of jewellery. This approach gives rise to a completely new
meaning for the body of work. It receives status of theomorphic autonomy and independence.
It is reasonable primarily, because the main desire of jewellery is perfection, which is
inherent in supernatural beings. It is a metaphor of godlikeness, which transforms jewellery
into virtuality.
Above all else jewellery for me is a concentrated sign, which communicates through the
shape, colour and material. Unlifelike symmetry allows it to aim for a contour and shape
purity. Monochromatism by means of its infinity allows to see the unseen, and the use of
artificial materials shows quality that is closest to virtuality. Thus I turn the hierarchy of
material values upside down and erase the boundaries between artificial and natural.
Consequently there is a new comprehension of jewellery as a challenging material-spiritual
substance, as well as the general departure from utopian death and jewellery standards. The
goal of the thesis is reached - jewellery obtains its apotheosis. However, unsuspected
autonomy, which appears as it was a 'side effect' of apotheosis, keeps the body of work out of
certain cases, subcultures, etc. This in turn contributes to the perfection of this substance.
31
Since this analysis is not a final destination, I intend to continue the analysis of a jewellery
essence through certain prisms, which impose on it the imprint of cliché and routine. My avid
interest for the subject of death and unlimited love of jewellery made possible to create
theomorphic jewellery as a prototype of perfection.
RESÜMEE
Käesoleva magistritöö peamiseks eesmärgiks on uurimuslik ettevalmistus praktilisele
projektile – ehteseeriale, mis püüab siduda sakraalsuse, jumalikkuse ja virtuaalsuse ühtseks
terviklikuks temaatikaks.
Seesugusel viisil avavad käsitletavad ehted end surma analüüsi meediumis. Üldiselt pole
surm meie kultuuriruumis leidnud tunnustust, surma temaatika on mingil määral puutumatu
ning ümbritsetud erisuguste klišeedega. Ühelt poolt pean ma vajalikuks vastanduda
seesugusele paradigmale. Teisest küljest varjub minu alateadvuses vastupandamatu soov
leida surma kontseptsioonile uusi alternatiive. Pidades silmas, et surma temaatika uurimine ei
ole pelgalt kerge flirt, on kirjatöö püstitanud eesmärgi defineerida surma visualiseerimise
võimalikkust tunnetuse teel – aistingud, tajud ja mõistmine.
Väga oluline on ära märkida minu eemaldumine ja lahtiütlemine erinevatest olemasolevatest
surma visualiseerimise käsitlustest. Kuid analüüsi käigus tuli silmitsi seista peamise ning
suurima dilemmaga – võimetusega visualiseerida surma. Teiste sõnadega, kandes
eksisteerivate surelikkuse interpretatsioonide kohta käiva informatsiooni läbi nö enese
prisma, tuli järeldada, et innovaatilised arutlused ning visuaalsed võimalused said tekkida
üksnes läbi eneseanalüüsi.
Hoolimata faktist, et surmauuringud hõlmavad endas interdistsiplinaarseid ja
metodoloogiliste lahenduste laialdast valikut on uurimuste keskmeks ilmalik käsitlus. Niisiis
on seesuguste uurimiste alguspunktiks sotsiaalne aspekt ning see lähtub justkui neutraalsest
või väljaspoolsest vaatepunktist. Minu eesmärk on aga vastupidine - leida vaatenurki, mis
oleksid eksistentsiaalsemad.
32
Teoloogia on käesoleva kirjutise oluliseks lähtekohaks, kuna see võimaldab vaadelda
magistritöö teemat uue nurga alt. Kuna surm iseenesest on efemeerne ja ettekujuteldamatu,
on teema kitsendatud post-surmale. Eraldades magistritöö tavapärasest surma fenomeni
tajumisest, liikudes kaugemale sotsiaalsest tajumisest, sisaldab antud kirjutis teoloogilist
komponenti – inglite hierarhiat. See tähendab, et magistritöösse on integreeritud inglite
hierarhia ning loodud selle ja ehete hierarhia vaheline paralleel. See aitab üles ehitada uue
surelikkuse interpretatsiooni, mis on, nagu eelnevalt mainitud, autori eesmärgiks.
Vajalik on selgitada ka magistritöö formaati. Teatud mõttes on tegemist teekonnaga,
pihtimise ja eneseanalüüsiga, mida ma soovin lugejaga jagada. Teksti esimene pool on
pühendatud vaid vaimsele ja kontseptuaalsele mõtlemisele surma olemuse, post-surma ja
esteetika üle. Samas kui kirjutise kulminatsioon algab peatükiga "Homeosis" ning viimane
peatükk "Apotheosis" on lõpplahendus.
Magistritöö tervik koosneb niisiis kahest osas, millest esimene esindab ehteseeriat ning teine
osa keskendub analüüsile, selgitades detailselt jumaliku ehete sünni protsessi. Kaante vahele
on saanud sissejuhatus, kaheksa peatükki, kokkuvõte, viited ning nimekiri tööde fotodest.
Kirjatöö üldine struktuur on järgnev:
1. Surma paradoksi ilmutus.
2. Surma visualiseerimatuse ilmutus.
3. Püüd visualiseerida surma kasutades antiteesina igavikku.
4. Paralleel surma ning post-surma vahel.
5. Paralleel inglite ning ehete hierarhiates.
6. Materjali ülekandmise võimalikkus homeoosi abil.
7. Põhilised viisid post-surma visualiseerimisel monokroomsuse ja sümmeetria abil.
8. Ehte absoluutse autonoomsuse saavutamine apoteoosis.
Plaanitavatesse ehetesse on peidetud jumalikkuse manifest, seda nii kujult, substantsilt kui ka
kromaatiliselt. Peamiselt annavad eelnevalt nimetatud esteetilised omadused objektidele
monokroomsuse, mis juhib vaataja tähelepanu esemete kujule. Sümmeetria, samamoodi nagu
ka kunstlike materjalide kasutamine, avab vaatajale vormi puhtuse. Samas aga teatud viisil on
33
see isegi imitatiivne. Vormi elementide läbipaistvus on metafooriks selle kaduvusele ja
piiripealsusele. Kunstlike materjalide kasutamine demonstreerib omadusi, mis on lähimad
virtuaalsusele. Seega tehismaterjalide kasutamine paiskab segi materjalide hierarhia ning
kustutab piirid loodusliku ning kunstliku vahel.
Ehteseeria koosneb vaid ripatsitest ning kaelaehetest. Seesuguse valiku on tinginud äärmuslik
fokusseeritus ehte autonoomsusele – sõltumatusele inimkehast. Järelikult see märgib ära, et
välistatakse seos igasuguse ilmalikkuse ja maapealsega.
Selline lähenemine toob esile täiesti uue tähenduse ehteseeriale. See saab jumalikule vormile
(ing.k. sõnast theomorphism) omase autonoomsuse ja iseseisvuse staatuse. See on võimalik
peamiselt seetõttu, et ehte peamiseks ihaks on täiuslikkuse saavutamine, mis on omaseks
üleloomulikele olevustele. Tegemist on jumalikkuse metafooriga, mis muudab ehte
virtuaalseks.
Nii tekib alternatiivne arusaam ehtest kui materiaalsest-spirituaalsest substansist, niisamuti ka
üldisest üleminekust nii surma kui ka ehte utoopilistest standarditest . Veelgi enam, teekonna
formaat annab kõnealusele tööle isikliku tähendusrikkuse tooni. Just seetõttu ei saa
käsitletavate ehete eesmärki piiritleda mingi kindla sündmusega. Seda ei saa siduda mõne
kindla sihtgrupi või subkultuuriga. Ehteseeria on loodud uurimustöö tulemusena ning see
omab iseseisvat väärtust, kuna see jõuab ülima täiuslikkuseni läbi autonoomsusee ning
sõltumatuse saavutamise kandjast ning isegi ka autorist.
Estonian translation:
Marleen Soosaar
34
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(Fig. 1) Benchev, I., 2005. Translated according to Иконы ангелов: образы небесных
посланников. Москва: Интербук-Бизнес. p.40.
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посланников. Москва: Интербук-Бизнес. p.41.
(Fig. 4) Sociology and theology correlation. Made by the author. 2015
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посланников. Москва: Интербук-Бизнес. p.118.
(Fig. 6) Sketch. Made by the author. 2015
37
(Fig. 7) 3D model. Made by Stig Paju. 2015
(Fig. 8) Material variations. Made by the author. 2015
(Fig. 9) 3D model. Made by Stig Paju. 2015
(Fig. 10) 3D model. Made by Stig Paju. 2015
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PICTURES OF WORKS
Pendant, 2015 (175x58x24 mm)
Materials: polyurethane plastic, paint, silver, synthetic cord
Necklace, 2015 (225x220x33 mm)
Materials: polyurethane plastic, paint, silver, rubber cord
Pendant, 2015 (158x56x21 mm)
Materials: polyurethane plastic, silver, rubber cord
Pendant, 2015 (120x30x25 mm)
Materials: polyurethane plastic, paint, silver, rubber cord
Necklace, 2015 (200x210x30 mm)
Materials: polyurethane plastic, silver, rubber cord
Necklace, 2015 (95x187x30 mm)
Materials: polyurethane plastic, urethane caoutchouc, gold, rubber cord
Pendant, 2015 (133x34x34 mm)
Materials: urethane caoutchouc, gold, rubber cord
39
SPECIAL THANKS TO:
Andrey Kulpin
Daniil Popov
EAA Department of Jewellery and Blacksmithing
Eesti Kultuurkapital
Eik Hermann
Jens A.Clausen
Kadri Mälk
Kristo Pachel
Marina Demidova
Marleen Soosaar
Piret Hirv
Sharon Portelance
Stig Paju
and to my family members
