Kerongsang Kelt: Perbedaan antara revisi

TheKerongsang-kerongsang broochesyang weada havesaat todayini haveadalah beenkerongsang-kerongsang discoveredyang sinceditemukan thesejak 17thabad centuryke-17, and their odds on their survival once found have increased greatly over that period, as their value as artefacts has overtaken their scrap value. In the 19th century, as part of the [[Celtic Revival]], many brooches copying or inspired by earlier styles were made.<ref>[https://collections.vam.ac.uk/search/?listing_type=imagetext&offset=0&limit=15&narrow=0&q=penannular+brooch&commit=Search&quality=0&objectnamesearch=&placesearch=&after=&after-adbc=AD&before=&before-adbc=AD&namesearch=&materialsearch=&mnsearch=&locationsearch= Victorian penannular brooches] from the [[V&A Museum]].</ref>

Much of the responsibility for the fashion for high-quality Celtic Revival jewellery belongs to George Waterhouse, a jeweller from [[Sheffield]], England, who moved to [[Dublin]] in 1842. Before the end of the decade, he and the long-established Dublin firm [[West Jewellers|West & Son]] of [[College Green, Dublin|College Green]] (later moving to [[Grafton Street]]) were finding it necessary to register their designs to prevent copying. Of the various types of objects made, the brooches were both the "most resonant" and those which could be sold with the least alteration to the original form and design, although the jewellers generally reduced their size and fitted them with conventional pins and catches behind, even though the [[Kashmir shawl]]s that were also fashionable at the time were often loosely woven and not unsuitable for fastening in the original way.<ref>Gere anddan Rudoe, 444.</ref> Different versions were made at different price levels, though even the most expensive struggled to recreate the full intricacy of the originals.

The [[National Museum of Ireland]] is clearly not correct in saying that the fashion began after [[Queen Victoria]] was presented with a [[replica]] of the "Cavan Brooch" on her visit to Dublin to see the [[Great Industrial Exhibition (1853)|Great Industrial Exhibition]] in 1853;<ref>NMI, 5:21</ref> the [[Royal Collection]] has two brooches that [[Albert, Prince Consort|Prince Albert]] bought for her from West & Son in 1849 on an earlier visit to Dublin, which were already being made in editions. Albert presented them in November and at Christmas that year: "...such beautiful souvenirs, both made after those very curious old Irish ornaments we saw in [[Trinity College, Dublin|the College]] in Dublin, one a silver shawl brooch, in smaller size than the original" was her reaction to the November gift.<ref>[http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=12457&row=15&detail=about Royal Collection] {{webarchive |url=https://web.archive.org/web/20110609042602/http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=12457&row=15&detail=about |date=June 9, 2011 }}, Brooch given in November 1849, and [http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=4833&row=16&detail=about Christmas 1849]. Their fabrication was sub-contracted to Edward Johnston's workshop. See also the V&A text at the link above, also dating the fashion to the 1840s.</ref> A later gift from Albert included a setting of a [[Smoky quartz|cairngorm]] he had picked up when walking in the [[Scottish Highlands]], a more authentic type of gem than the brightly coloured foreign stones used in much Celtic Revival jewellery.<ref>[https://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=82803&partid=1 British Museum] Waterhouse replica of the Tara Brooch, with text from "catalogue of Hull Grundy Gift (Gere et aldkk 1984) no. 989" covering other replicas and the revived brooch in general</ref>

The discovery of thePenemuan [[Bros Tara|Kerongsang BroochTara]] inpada tahun 1850 could therefore not have been better timed in terms of attracting public interest. It was immediately recognised as the culminating masterpiece (though early in date) of the Irish development of large and superbly worked ornate brooches, a status it has retained ever since. The brooch was soon acquired by George Waterhouse, who used it as the centre of displays of his replicas and imitations of Celtic brooches in his Dublin shop, also exhibiting it at [[The Great Exhibition]] in London in 1851 and the Paris [[Exposition Universelle (1855)]], as well as the Dublin exhibition visited by the Queen in 1853 (Victoria had already seen it; it had been specially sent to [[Windsor Castle]] for her inspection). -->

WaterhouseNama had"Kerongsang inventedTara" thediberikan brooch'soleh name;George in factWaterhouse, ittetapi hassesungguhnya nothingkerongsang totersebut doada withkaitannya thedengan [[Hill ofBukit Tara]],. andKendati whileditemukan likelykurang foundlebih some28 28&nbsp;km awaydari theBukit actualTara, circumstanceshal-ihwal ofpenemuannya itspun findmasih stilltidak remain unclearjelas (essentiallydisengaja tosupaya avoidtidak adiklaim claimpemilik by the landownertanah), anddan George Waterhouse chosememutuskan tountuk linkmenghubung-hubungkannya itdengan tositus theBukit siteTara associatedyang witherat thedikaitkan dengan raja-[[Highraja Kingtinggi]]s of IrelandIrlandia, "fullydengan awarekeinsfyafan thatpenuh thisbahwa wouldpenamaan feedtersebut theakan Irishmelambungkan middle-classkhayalan fantasymuluk ofgolongan beingmenengah descendedIrlandia fromyang menganggap dirinya sebagai keturunan raja-raja themtersebut".<ref>Gere anddan Rudoe, 444; British Museum: Waterhouse replica of the Tara Brooch, seebaca noteketerangan abovedi atas.</ref> Ketika Describingmenjelaskan thetren trendtersebut inpada thepada mid-20thpertengahan centuryabad ke-20, [[Adolf Mahr]] describedmenguraikan thekecenderungan tendencyuntuk formemberikan givingsebutan-sebutan broochessemacam —anditu morekepada importantlykerongsang-kerongsang their—dan replicas—yang suchlebih titlespenting aslagi kepada replika-replikanya— sebagai tindakan "fancifulbermuluk-muluk (anddan sometimeskadang-kadang ridiculouskonyol)...byoleh asebuah firmfirma ofpengrajin perhiasan Dublin jewellers".<ref name="b82">Briggs (2017), phlm. 82</ref> ByKetika the time theKerongsang Tara broochdiserahkan passedkepada tolembaga whatyang iskini now thebernama [[National Museum ofNasional IrelandIrlandia]] inpada thedasawarsa 1870s1870-an, the"Kerongsang "Tara brooch" hadtelah become amenjadi [[Genericizedmerek dagang trademarkgenerik|genericistilah termgenerik]] forbagi Celtickerongsang-kerongsang RevivalKebangunan broochesKelt, someyang ofbeberapa whichdi wereantaranya nowdewasa beingini madejustru bydikerjakan di sanggar-sanggar kriya [[India]]n workshopsuntuk fordiekspor exportke to EuropeEropa.<ref>Gere anddan Rudoe, 455</ref> -->