In a Pomegranate Pattern

Without its pedestal our jewel would be round, but because of it, it’s shaped like a pomegranate (fig.4). In the 16th century pomegranates were symbols of vitality, of life, fertility, power and even the church. The pomegranate in religious art is often split and showing the seeds, demonstrating Christ’s power over death and his ability to gift salvation and rebirth to mankind. A beautiful example is the Madonna of the pomegranate by Botticelli. (fig. 5) Many cultures use pomegranates for decorative purposes. Floral designs in pomegranate motifs became known across Europe by featuring on rich fabrics, carpets and porcelain from Asia. (fig 6). Pomegranate, or artichoke, design reached Europe from China in the 14th century, first as an often used motif in the Ottoman silk production of Istanbul and Bursa, followed by imitations of these Chinese patterns in the Italian industry. (fig. 7) Rudolf Wittkower, “China and Europe I: Early Connections”, Selected Lectures of Rudolf Wittkower, The Impact of Non-European civilizations on the Art of the West, complied by Donald Martin Reynolds, Cambridge University Press, Cambridge, 1989, pp. 152 – 154 Peck, Bogansky, Peck, Amelia, and Bogansky, Amy. Interwoven Globe : the Worldwide Textile Trade, 1500-1800. London: Thames & Hudson, 2013.

The symbolism in this jewel is rich, as is its decoration. The shape alone evoked devotion, and embodied vitality. Now that we’ve looked closely at the shape and decoration, it is time to turn our attention to the kind of jewel this is.