I. Precision cut<\/p>\n\n\n\n
1. Introduction. Market characteristics. Trends of change. Key new trends in cutting.<\/em><\/p>\n\n\n\n Dear ladies and gentlemen!<\/p>\n\n\n\n Let me welcome you and thank the organizers for the opportunity to come and share my thoughts and experience in gemstone cutting. A few words about myself. I was born in central Siberia, Russia; I lived for a long time in the Far East, then in Moscow; and now I've been living and working in Thailand for almost three years. My first education is as a navigator, my second is as an economist, and my third is as a gemologist. I started cutting stones about 15 years ago, but I only became serious about it in 2006, after my first cutting competition, the Single Stone Competition, organized by the American Gem Cutters Guild. It was then that I first looked at a stone through the eyes of a judge and understood the essence of striving for perfection.<\/p>\n\n\n\n Let me briefly describe what these competitions are. Unlike creative competitions, where entries are judged by a competent jury, albeit quite subjectively, these are competitions in the truest sense of the word, as judges precisely count the number of cutting defects (scratches, chips, additional facets, broken meeting points) and express the result as a number within 100, accurate to four decimal places. After that, I had the opportunity to participate in several competitions, the most outstanding of which were winning the same competition in America in the highest category, \"Grandmaster,\" with an absolute score of 100 out of 100, and winning the individual International Faceting Challenge in Australia (essentially a world championship) with a score of 299.17 out of 300\u2014a record that remains unbroken.<\/p>\n\n\n\n It's worth mentioning another passion of mine: literature. When I wanted to share my thoughts, feelings, and experiences with people, I wrote poetry, fairy tales, and parables. However, I never chased quantity\u2014I wrote only when I couldn't anymore.do not writeAnd this side of my creativity was highly appreciated \u2013 I was presented with several awards as part of the international literary prize \"Golden Pen of Rus'\". \u043d\u0435 \u043f\u0438\u0441\u0430\u0442\u044c<\/em>. \u0418 \u044d\u0442\u0430 \u0441\u0442\u043e\u0440\u043e\u043d\u0430 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0430 \u0431\u044b\u043b\u0430 \u0432\u044b\u0441\u043e\u043a\u043e \u043e\u0446\u0435\u043d\u0435\u043d\u0430 \u2013 \u043c\u043d\u0435 \u0432\u0440\u0443\u0447\u0438\u043b\u0438 \u043d\u0435\u0441\u043a\u043e\u043b\u044c\u043a\u043e \u043d\u0430\u0433\u0440\u0430\u0434 \u0432 \u0440\u0430\u043c\u043a\u0430\u0445 \u043c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0439 \u043f\u0440\u0435\u043c\u0438\u0438 \u00ab\u0417\u043e\u043b\u043e\u0442\u043e\u0435 \u041f\u0435\u0440\u043e \u0420\u0443\u0441\u0438\u00bb.<\/p>\n\n\n\n So, the time came when stones became not just a hobby and a job, but an integral part of my life. I didn't want to follow the same paths as others; I was more interested in discovering something new. And I realized that a cut stone can be not just a beautiful decoration or an investment, but also an artistic tool for expressing an artist's ideas. But more on that later.<\/p>\n\n\n\n So, what has the cut stone market been like in recent years? We see a shift in the market. Dealers increasingly cite high cut quality as a competitive advantage. Buyers increasingly prefer well-cut stones, all other things being equal, even accepting a higher price. Stones with large \"windows,\" crooked facets, or scratched surfaces are increasingly being recut. This is happening everywhere: in America and Australia, in Europe and the Middle East, in Brazil and Canada, in India and Colombia.<\/p>\n\n\n\n Evolution is irreversible. It has many paths, but one direction\u2014development. Just glance at the development of the jewelry market and see how far it has come from the first roughly cut pieces of metal to the magnificent pieces of Wallace Chan or Jo\u00ebl Arthur Rosenthal. Gemstones are generally harder than metal; they cannot be cast or grown into arbitrary shapes, as 3D jewelry models are grown today. Therefore, the quality of stone processing lags behind that of gold or silver. And this difference becomes so obvious that it becomes difficult to ignore. My first student, who mastered the basics of precision cutting, once visited an exhibition of works by the famous jeweler Carl Faberg\u00e9. The first thing he said after the exhibition was: \"What beautiful pieces, and what terrible\u2014dull and crooked\u2014stones!\" It's hardly an excuse to say that \"stones have always been cut like this.\" Yes, just yesterday they were crooked and dull. But today they are already becoming more correct, which means that tomorrow they will shine with perfection.<\/p>\n\n\n\n Three main directions can be identified in the development of gemstone cutting. These are: the emergence of new shapes and fantasy designs; the addition (or replacement) of flat facets with curved surfaces; and the improvement of processing quality \u2013 polishing, symmetry, and facet alignment. In the first direction, one can highlight working with the optics of the stone \u2013 the conscious creation of various unusual optical effects using the laws of reflection and refraction of light. I will say right away that, while acknowledging and understanding all these directions, I do not use curved surfaces in my work. They create an unusual optical effect of fracturing internal reflections, but at the same time, the play of the stone, which is characterized by its dispersion \u2013 the decomposition of light into its spectral components, when flashes of colors not inherent in the stone appear \u2013 disappears. Curved surfaces do not create virtual prisms that decompose light rays, and the stone loses one of its main advantages.<\/p>\n\n\n\n 2. Precision cutting \u2013 what is it? An analysis of the current quality assessment system (using the \"Drop of Compassion\" as an example).<\/em><\/p>\n\n\n\n In recent years, the term \"precision cut\" has emerged. What exactly does it mean? How precisely is a particular stone cut? And, if we see a symmetrical and optically well-performing stone, is that already a precision cut or not yet? With existing methods of evaluating cutting quality, we cannot say this objectively enough. Moreover, these methods were developed quite a long time ago, and in the context of a changing market, they may be not only ineffective but also frankly erroneous. Let me give an example \u2013 using the GIA grading system, I will try to determine the cutting quality of one of the best stones I have ever cut \u2013 the \"Drop of Life\" from the \"Philosopher's Stone\" collection.<\/p>\n\n\n\n You are probably all familiar with the criteria included in this system. These are the stone's brilliance, proportions, and finish. While the first and last criteria yield excellent results, the proportions are not so straightforward. The fact is that the stone's proportions are determined by comparison with certain \"standard\" shapes. This design is perhaps closest to the \"pear\" shape. However, it differs so significantly from it that it is difficult to give it a rating higher than \"Fair\" for proportions. So, the overall rating is \"Excellent-Fair-Excellent\". If we take some kind of fancy shape, of which there are many in modern cutting, then we won't be able to evaluate the proportions at all.<\/p>\n\n\n\n It is clear that such systems are outdated for modern market conditions. There are other arguments that support this. Each rating in such systems represents a whole range, and not a small one at that. Imagine, for example, the entire wide spectrum of possible quality of finish found on the market \u2013 from the work of a novice student somewhere in Tanzania to the work of a winner of international competitions. There is a huge gap between them! And all this gap easily fits into five gradations \u2013 from Poor to Excellent. Imagine how wide a range each of them covers! And which gemologist can accurately say where the boundaries between these ranges lie? Is the polish on this stone still Very Good or already Excellent? And most importantly, is it possible to equally evaluate stones, one of which has only just \"crossed the border\" between Good and Very Good in terms of quality, and the other has just barely fallen short of Excellent? Low accuracy, limitations, and subjectivity are the main shortcomings of existing systems for evaluating cut quality.<\/p>\n\n\n\n 3. New quality assessment system. Quality classes, classification features. Using a working table. Optical characteristics (Light performance).<\/p>\n\n\n\n In response to new market demands, I proposed a new system for evaluating gemstone cutting. It is currently being tested and refined at AIGS in collaboration with the Singaporean company Sutra Gems. This system was developed based on the judging criteria of gemstone cutting competitions and adapted to market conditions. It's appropriate to explain what gemstone cutting competitions are. I would like to immediately distinguish between competitions and creative contests, such as the Spectrum Awards held by AGTA, the ___ competition in Idar-Oberstein, or \"The Most Beautiful Ruby\" in Bangkok. In such contests, the focus is on the beauty and external attractiveness of the stone, as well as the complexity of its processing, rarity, and \u2013 unfortunately! \u2013 price. The decision is made by a jury, which is usually not entirely competent. For example, the cutting part of the IU Awards competition in Hong Kong in 2012 was judged by a jury of 6 people, including jewelers, gem dealers, even representatives of the press, and \u2013 only one professional cutter! But there are also competitions in the truest sense of the word. They are held by public organizations \u2013 Guilds of Gemstone Cutters in different countries: America, England, Switzerland, Australia. In these competitions, all defects made during cutting and visible under a 10x magnifying glass are meticulously counted. These defects are marked on a diagram \u2013 so that each participant can see why the score was reduced \u2013 then compiled into a table, and a final result is calculated on a 100-point scale using a special methodology. The assessment is quite objective and fairly accurate \u2013 up to 4 decimal places.<\/p>\n\n\n\n The only problem is that competitions and creative contests never overlap\u2014not in judges, not in participants, not in scope. Creative competitions are typically held by professional market participants\u2014various associations, enterprises, and trade organizers. They often feature stones of astonishing beauty and price, but no one pays much attention to the quality of the workmanship. This is understandable\u2014professionals can't afford to polish a stone to a mirror shine; they need to make money, after all. Technical competitions, on the other hand, are held by amateur cutters\u2014they cut stones in their spare time and are capable of polishing them to perfection. A paradoxical situation arises: amateurs do better than professionals; in fact, they often redo what the professionals have done poorly.<\/p>\n\n\n\n So, what is the new grading system based on? A faceted stone is not just a processed piece of mineral and not just an optical system. It is also a combination of individual elements that can be subjected to analysis. These elements include facets, edges, and vertices where several facets meet. In modern complex facet designs, there can be many such elements \u2013 sometimes hundreds. Therefore, some preliminary work is needed before evaluation \u2013 counting the total number of such elements, which will then be used to determine the result. Then the expert counts how many of these elements have defects and enters the data into a special table. Defects can be of three types \u2013 barely visible with a magnifying glass; clearly visible with a magnifying glass, but difficult to distinguish with the naked eye; and, finally, clearly visible with the naked eye. Accordingly, they have a weight in the calculation \u2013 25, 50, and 100 percent. Then the spreadsheet uses formulas to calculate the final result. There is still some element of subjectivity here \u2013 experts do not always determine the type of a particular facet defect in the same way. But this will be overcome when programs for 3D scanners are developed and linear dimensions are set for defects of each type.<\/p>\n\n\n\n As I've already mentioned, the result is quite accurate, but it's not always convenient to work with just numbers. For example, it won't be clear to everyone what, say, 94.2343 points means. For convenience, a simple classification of stones based on the quality of their cut has been proposed. The classification is still provisional and is still being refined. Each of the three classes \u2013 Commercial, Quality, and Elite \u2013 is, in turn, divided into three subclasses. While the subclasses of the first two have simple numerical designations, in the Elite class they have their own names: Elite Premium, Elite Extra, and Elite Ideal. The last, highest subclass, includes stones with a score of at least 99 points out of a hundred, and also with a number of restrictions. This is absolute exclusivity in the cutting market. If (according to very rough estimates) most stones on the market today are in the Commercial class, then even the Quality-I subclass is represented by fractions of a percent, and there are practically no stones in the Elite Ideal category at all. This doesn't mean that they can't even theoretically exist. Sometimes even 100-point stones appear at gem cutting competitions. But these are the domain of competitive gem cutters, who are still very far from the market.<\/p>\n\n\n\n I dare say that this system for evaluating the quality of the cut will be the missing link that will help the market develop. Of course, there's no point in evaluating the quality of the cut if it's clearly below the \"Quality\" class. But a document confirming an \"Elite\" class cut will provide both sellers and buyers with strong arguments.<\/p>\n\n\n\n From my own experience, I know there's a category of buyers willing to pay significant sums for the very best. Let's consider diamonds for a moment. Why do stones with IF clarity cost significantly more than similar stones with VVS1 clarity? Could any end buyer actually see that tiny point that makes the difference? No, that's not the point. Stones without that tiny point are much rarer and \u2013 most importantly \u2013 the clarity category is confirmed by a certificate based on an accepted classification system. Why shouldn't the same apply to the quality of the cut?<\/p>\n\n\n\n 4. High-precision polishing \u2013 features, advantages, operating mechanism. Recommendations for use.<\/em><\/p>\n\n\n\n Now I'd like to discuss a crucial stone characteristic: polishing. Most commercially available stones are cut in two stages: faceting and polishing. Precision cutting typically involves three stages: faceting, grinding, and polishing. Commercial polishing is essentially the same as polishing in precision cutting. So, what is precision polishing, and how does it differ from commercial polishing?<\/p>\n\n\n\n A standard tool for a gemologist, dealer, or cutter is a 10x magnifying glass. This tool was chosen as the basic one for determining perfect polishing. Therefore, under a 10x magnifying glass, there should be no visible surface defects on the facets \u2013 no dots, scratches, extra facets (not provided for in the design), chips, or pits. This surface examination requires certain skills. When viewing a facet, it is necessary to \"catch\" the reflection of light from a point ( \uaf2d a point!) source with the eye, then slightly rotate the stone so that the glare moves off the surface of the facet. At the moment it disappears, when the surface has just dimmed, the cutting defects (if any) continue to glow, as the light is partially reflected from the irregularities formed by this defect. The polishing can be considered perfect if, as the reflected glare disappears, the facet dims evenly and gradually \u2013 without glowing dots, lines, or sharp jumps caused by a bend on an extra facet. I can assure you that good polishing can significantly increase such a gemological characteristic as the saturation of the stone's color.<\/p>\n\n\n\n The last statement needs explanation, because it is very important. Polishing always leaves scratches at the surface of a facet, comparable with the size of used abrasive. Density of such scratches is usually high, the surface becomes silky<\/em><\/strong>, when light patch goes away from it. The explanation is partial light diffusion reflected by uneven surface at different angles. The more surface is uneven, the more diffusion it produces. The surface is lit not regularly under such deflection of light waves, because at some microscopic areas the dark surrounding objects are visible at light background of reflection. It means that visible <\/em><\/strong>color of stone gets some grayish compound in addition to the real<\/em><\/strong> color of material. And this grayish compound decreases color intensity.<\/p>\n\n\n\n I use to hear the following question: \u00abWho needs perfect polishing and exact meetpoints? Nobody will see it anyway! \u00bb But it is not so. Our eye is a perfect optical instrument. It sees many details, which our brain doesn’t realize, but they influence the level of subconsciousness and create an impression<\/em><\/strong>. I had an interesting story. 10 years ago, I cut synthetic Spinel for American faceting competition and showed it to one friend of mine. He liked that stone and asked me to cut the same for him. Okay, I did it. Same design, same material, same size. But \u2013 the second stone was made a bit more precisely, because it was the second. But it was impossible to see difference without loupe, without acceptable light and without some faceting experience. And what? I showed both stones to many people and asked which one is better. Almost everyone said: \u201cThis one\u201d, meaning the second. Nobody could say why \u2013 just they liked it more. Impression, just impression\u2026<\/p>\n\n\n\n 6. Recutting \u2013 when is it necessary, what types there are, what losses there are, and what is best to choose when.<\/em><\/p>\n\n\n\n To reveal the beauty of a gem as much as possible, it is better to cut it precisely \u2013 maintain symmetry, meet points, and the most important thing is \u2013 facet it under the correct angles. But what can we do with the gems already wrongly cut? The answer seems obvious \u2013 recut them with better proportions and higher quality polishing. But everything is not that simple. Before taking a decision about recutting, it is necessary to analyze the consequences. Losses are inevitable in this case, and it depends on the type of recut, gem color and shape.<\/p>\n\n\n\n There are just four kinds of recut \u2013 repolishing existing faces; repolishing with perfect meet points; recutting with saving initial shape; totally recutting for another shape. While repolishing existing faces, losses are minimal and can hardly be taken into consideration. For example, when repolishing a wonderful 44ct Lankan sapphire, I managed to lose only one point (one hundredth of a carat)! This process is long and quite expensive, as it is necessary to \u201ccatch\u201d each facet with the high accuracy, so it is reasonable, first of all, for big and valuable gems without serious optical defects. Such repolishing is useful for increasing the brilliance and color intensity. Just one note. Before I told how perfect polish enforces color saturation. But what happens if color is dark? In this case numerous scratches of commercial polish, giving some grayish compound, can makevisiblecolor lighter. visible<\/em><\/strong> color lighter.<\/p>\n\n\n\n Repolishing with better meet points usually costs 1-3% of initial gem weight and improves a general look of a gem as well as its brilliance \u2013 due to harmony and accurate faceting pattern. This type of recut is also appropriate for expensive gems without any significant optical defects.<\/p>\n\n\n\n Recut with saving initial shape \u2013 a more serious step that is required for a gem (as most gems on the market) with wrong proportions leading to \u201cwindows\u201d and \u201cextinction\u201d. This category is very diverse and losses may vary from 5 to 30% of gem weight. Recently I have \u201cclosed the window\u201d and improved symmetry in 3ct unheated ruby \u200b\u200band I have lost just 18 points that is 6% of initial weight. In the other case, 8.3ct sapphire turned to 5.7ct one with significant improvement of color as well as symmetry and brilliance.<\/p>\n\n\n\n Finally, recut with changing shape is mainly used for large and not expensive gems like quartz or topaz. The result may become not a usual \u201cjewelry insert\u201d but a real art-object, in which the labor cost may considerably exceed the cost of rough. In this case, weight losses are most significant, but masterpieces may get born genuine in which the inspiration of master is not limited by strict requirements to save weight. As an example, I may show the kunzite \u201cTouching to Perfection\u201d from the collection \u201cPhilosophical Stone\u201d that was displayed at many exhibitions in Europe, Asia and America. Initially it was a usual trillion with the weight of approximately 300ct. It turned into an amazingly harmonious flower of lotus with the star twinkling inside, its weight now is a little more than 180ct. The previous cut didn't arise much astonishment, the final one is difficult to take the eyes off \u2013 its harmony is charming. In this case the losses are reasonable. So, the key word is said \u2013 losses should be reasonable. It concerns not only weight losses, but time consumption and cost of recut. Price of the obtained gem including recutting cost should be higher than the price of the initial gem. The higher is the price of rough, the lower is the share of recutting in the price of the finished gem. So, there should be quite strong reasons to recut completely, say, 6ct ruby. It is necessary to keep in mind so called \u201cmagical\u201d sizes, when the price for carat is increasing sharply. For example, 2.97ct ruby \u200b\u200bcosts much less than the same ruby \u200b\u200bof 3.02ct. It means, we can hardly consider reasonable even the simple repolishing of very expensive gem, if as a result we'll obtain 3-, 5- instead of 3+,5+. Let's memorize it.<\/p>\n\n\n\n Is it possible to predict losses of recutting (in the third option with saving previous shape) according to initial gem proportions? As a rule, this recutting is made with the purpose to eliminate optical defects, most often \u2013 windows. Let's examine three cases: a) a pavilion is high enough, but bulgy (there is a window in the center and extinction around it); b) a pavilion is high, but not bulgy at all (extinction); c) a pavilion is not bulgy and not high (a big window). In the first case, it will be enough to cut bulge a little and reform culet angle without touching girdle. It will lead to little losses and, what is very important, the dimensions of the gem will remain the same (\u201cface\u201d). In the second case, we'll have to cut a culet and make the height of the gem optimal \u2013 losses will be even less. In the third case, we should recut a girdle and losses will be most significant, and the \u201cface\u201d of the gem will become smaller. It is obvious, that in the third case we should think a lot before taking a decision of recutting and consider the cost of rough.<\/p>\n\n\n\n II. Artistic cutting<\/p>\n\n\n\n 1. Crafts and art \u2013 what are the differences? Examples.<\/em><\/p>\n\n\n\n Let's talk now about a completely new direction in the gemstone market \u2013 the art of gem cutting. What is the distinguishing feature of this art? First and foremost, it's the ability to evoke chains of associations in people's minds, triggering specific emotions. Cut gemstones themselves also evoke emotions: you look at them, and you like them. That's also important \u2013 being able to reveal the charm and beauty of the stone. But a true artist can do more: create images in our consciousness using the beauty and design of the stone. And the design doesn't necessarily have to be very complex; a true artist can sometimes be content with a minimum of expressive means. Let's recall the short \u2013 only four words! \u2013 story by the great Hemingway: \"For sale: baby shoes\u2026 Never worn.\" And there it is: the grief of a family that has experienced a terrible tragedy \u2013 the loss of a small child \u2013 rises before us. And in response, a wave of compassion arises, a desire to help and support. The brilliant writer makes us experience strong emotions \u2013 with just six words.<\/p>\n\n\n\n Of course, words are one of the most powerful means of artistic expression. But a faceted stone can also be such a means. And in this case, words can also help the artist who is faceting the stone. I will explain with an example. Several years ago, I faceted an aquamarine of a completely irregular shape. It had no symmetrical facets at all. It seemed like just a faceted abstraction. But \u2013 pay attention! The stone was called \"The Sprout of the Universe.\" Why? One day I read a hypothesis that our Universe is a kind of crystal, each facet of which is a three-dimensional space. But how to show a multidimensional object? Only in a three-dimensional projection. A painting or a photograph is a two-dimensional (flat) projection of a three-dimensional (volumetric) object. I tried to imagine (and facet!) a three-dimensional projection of the Great Cosmos, where numerous spaces intersect with certain lines and points. Of course, the stone is so small, but it's only a sprout! Imagine how it can grow and become more complex... That is already art.<\/p>\n\n\n\n Another example, at first glance unrelated to the stone market, depicts an installation featuring a pile of rubbish. Nothing out of the ordinary, it seems. But with just the right lighting and shadow, the shapeless pile forms a precise, detailed image of two young people. They sit in a relaxed pose, leaning back against each other. He holds a half-smoked cigarette, she a glass of wine. The shadows even reveal the details of their hairstyles. This is not just a photograph or a painting. In this composition (light source \u2013 pile of rubbish \u2013 shadow on the wall), an open mind can discern the essence of the creative process. After all, in order for a work of art (a shadow on the wall) to be revealed to the public, the artist must take some set of \"building materials\" (be it paint and canvas, pen and paper, guitar and microphone, stone and grinding wheel, or simply rubbish), arrange them in a specific order, and illuminate them with a powerful beam of inspiration. And then, on the \u201ccanvas\u201d of our three-dimensional world, images appear \u2013 projections of higher dimensions\u2026<\/p>\n\n\n\n Similar examples have already existed in history. Let's recall the ancient Japanese art of Netsuke. These are miniature sculptures depicting people and animals at certain moments in their lives. Each sculpture is accompanied by a short poem expressing the idea of \u200b\u200bthe subject, or conceptually related to it. In this case, the sculpture served as a key, unlocking a chain of associations in the viewer's mind, a foundation upon which the edifice of experiences and reflections is built. To continue this comparison, the poem here is the building material, and the complexity, beauty, and grandeur of the edifice depend entirely on the depth of the viewer's inner world. This is an important point. The transformation of a passive viewer into an active creator \u2013 this is the essence of true art.<\/p>\n\n\n\n 2. Technological advances offer new opportunities for realization\u2014not only the beauty of the stone, but also the artist's inspiration. Cutting as an art.<\/em><\/p>\n\n\n\n I already mentioned in the first part of my presentation that the gemstone market is changing. Any change requires certain prerequisites \u2013 both objective and subjective. What prerequisites can we identify in our market? Cut gemstones have traditionally been used as inserts in jewelry. However, while the jewelry market has developed quite dynamically in recent times, cut gemstones themselves have remained almost unchanged for centuries. Although the means of processing them have changed significantly. Of course, some cutters still use the simplest hand tools, but most stones are now cut on cutting machines. The machines themselves are also changing. The accuracy of angle setting is increasing, the discs and abrasive materials are improving, and automatic lines are appearing... The quality of cutting is not yet significantly different from previous centuries, but the development of technical means provides opportunities for a fundamental leap in the quality of cutting, which lags far behind the quality of metal processing. We can attribute this to objective factors.<\/p>\n\n\n\n Among the subjective factors, one can note the emergence of new participants in the market \u2013 yesterday's amateur gem cutters. I have already spoken about competitions in gem cutting techniques. Some of the participants (and winners) of these competitions become so passionate about their favorite activity that they can no longer separate themselves from it. For them, gem cutting becomes not only a hobby, not only a job, but also the meaning and way of life. Having touched perfection, they can no longer allow themselves commercial quality cutting. And, entering the market, they bring with them new quality standards and new approaches to its assessment. If their soul has a strong creative component, they begin to create, using the tools they have at hand. And at hand, first of all, they have a stone and a gem cutting machine, already sophisticated enough to try to express the idea that, as I said, distinguishes true art.<\/p>\n\n\n\n I've heard people describe imaginatively cut stones as art objects\u2014with chaotic cutouts, spherical \"bubbles,\" or concave facets that create a scattering effect of light rays. But when I asked the author, \"What did you mean by that?\" the answer was, \"Simply beautiful and unusual.\" I hope I haven't wasted so much time explaining the difference between craft and art. I'll try to give a few more examples from my own experience.<\/p>\n\n\n\n 3. Example. \"The Philosopher's Stone.\" Collection overview. Parable.<\/em><\/p>\n\n\n\n I was fortunate to present an exhibition here called \"Philosopher's Stone.\" These are ten faceted stones, varying in shape and material, each containing specific symbols within the patterns on their facets. Each stone corresponds to a parable that unfolds these symbols into profound philosophical concepts. Let's examine them in order.<\/p>\n\n\n\n This parable arises row of associations in our consciousness, based on the symbols or using it. Each associative row forms some philosophical conception. 10 stones \u2013 10 parables \u2013 10 conceptions. They don't give answers, but set questions. How do the Great and the Tiny correlate in the Space, on the Earth and in our mind? How endurable and how fragile is the Heart of our planet? What does touching to Perfection give us in the aspiration to creative self-realization? Which ways do we choose going to the Wisdom? Where is the great Secret of Universe hidden?\u2026<\/p>\n\n\n\n The parable outlines image; gemstone gives a key, but you have to turn it by yourself many times to open the door of knowing. What did the Philosophical Stone mean at the ancient ages? It was something, transforming any metal into gold. In this case metal means our consciousness, and gold \u2013 its highest state. And this collection of philosophical conceptions, faceted in gemstones, is aimed to help our consciousness to reach definite heights via thinking, understanding and assertion.<\/p>\n\n\n\n Let's examine them one by one.<\/p>\n\n\n\n 1.\u201cReflection of the Great\u201d<\/strong>. This is a big oval. On its pavilion, you can see rays coming from the center crossed by three spiral turns, which go from the center to borders, run through the girdle and continue on the crown. This image of galaxy in the gem reminds us that the great is reflected in the small, the world is seen in the dewdrop, a small atom replicates the structure of the huge star system. When we look at this stone, we think about the value of each passing moment that makes the inimitable pattern of the Eternity; about the meaning of each small action that may lead to crucial consequences.<\/p>\n\n\n\n 2. Drop of Compassion<\/strong> It has a shape of a wide drop limited by spirals of the golden section from both sides. In the bottom of the stone there is a triangular showing the Way leading to the infinity \u2013 a point, where the selfishness of a man disappears vanishing in the Great Compassion to all being. Rays coming from all sides to this point support the optical perspe<\/strong>ctive. From above three arches descend symbolizing three stages, which a man, who has chosen this way, should come through one by one. These stages are common for all devotees of spirit: Awakening, Renunciation and Transformation. This is the way of Christ, the way of Buddha, the way of all great teachers of Humanity.<\/p>\n\n\n\n 3. \u00abHeart of the Planet\u00bb.<\/strong> This gem has unusual shape \u2013 an oval stretched in horizontal with distinct angles above and below. In the \u00abchess-board\u00bb of the crown you can see the net of parallels and meridians. This is a symbol of the heart pulsing in the bottom of our living planet, — mighty and fragile in its vulnerability\u2026<\/p>\n\n\n\n 4. \u00abWinner\u00bb.<\/strong> The gem’s crown shows a lion’s face looking directly at you with his triangular eyes, in which one can see the superiority over the \u00ablord of creation\u00bb, who has won the Nature by the power of his mind and got terrified by the results of his \u00abvictory\u00bb\u2026<\/p>\n\n\n\n 5. \u00abTouching to the Perfection\u00bb. <\/strong>A bud of the magic flower is arranged by the crossing lines on the crown, and on the pavilion inner facets make a distinct lotus with three petals (three tongues of the single fire: Father, Mother and Son \u2013 the Trinity of all religions) resting on the parallel lines symbolizing the calmness of Life waters. Five-point star is shining in the depth of the flower. \u00abOh, the treasure in the lotus flower! \u00bb — the great Buddhist mantra says in its word by word translation. Oh, the holy flower in the gem!<\/p>\n\n\n\n 6. \u00abCognizing Wisdom\u00bb<\/strong>. In the outer shape of this slightly modified triangular you can guess the shape of the Buddhist holy mountain Kailas. The triangular of the crown extended upwards reminds the Christmas tree and rays coming from the center to pavilion are divided by the Golden section, they make a shape of temple. The stone unites images of different religions as if saying: \u00abNo matter what way you choose to approach Wisdom \u2013 you will find it everywhere, if you continue your way in patience and joy of creative labor for the common wealth\u00bb.<\/p>\n\n\n\n 7. \u201cWorld\u2019s Treasure\u201d.<\/strong> It has shape of a faceted diamond seen from the side, in profile. The crown facets repeat the pattern of standard diamond cut. But it is visible, the outer layer. And the star shines on pavilion, the back side of which is hidden from our eyes. It means that another, much deeper things could be hidden behind the obvious values. This idea is disclosed in the parable connected to this stone: once a man must choose the main treasure for him, and mistake could cost much\u2026<\/p>\n\n\n\n 8. \u201cBirth of the Star\u201d.<\/strong> This is a square stone with a big table, through which, like through the big window, you can see a four-point star surrounded by two levels of rays, coming from the center. Star points meet the same four sharp rays coming towards them. Suppose, worlds are being born like this \u2013 broadening and rolling up in eternal pulsing under the influence of the invisible cosmic Powers.<\/p>\n\n\n\n 9. \u201cGreat Sacrifice\u201d.<\/strong> This is a triangular with inscribed circle, a cross is inside this circle. The cross in the circle of Eternity is not limited by the Christian image of Crucifix and shows the unity and fight of male and female origins, good and evil, Spirit and Matter. The triangular with the top upwards is the symbol of a man\u2019s ascending, who has undergone crucifix of the Spirit on the cross of flesh and made a sacrifice of his own Self for the benefit of all living beings.<\/p>\n\n\n\n 10. \u201cMystery of the Universe\u201d.<\/strong> The last stone of this collection has a round shape not by chance \u2013 this is a symbol of completeness and fullness. In the last version, its crown has two six-point stars made from triangulars with their tops upwards and downwards \u2013 it may have different titles: the Star of David, the Star of Solomon, the Star of Vishnu, Tetragrammaton and so on. This is one of the most ancient and deepest symbols: six rays in unity with the central point make perfect SEVEN. The outer star is \u2013 Space, the inner one is \u2013 a Man. Rhombs between them give the illusion of three-dimensional \u201ccubes\u201d \u2013 this is the Great Illusion of our existence, manifestation of the spirit in the material world. On the photo, the third star appeared inside the small one, made by reflections. This is the mystery of the Being \u2013 a man reflects the whole Eternity. In this aspect, the last stone is similar to the first one \u2013 it finishes this cycle by revealing this topic on the other level.<\/p>\n\n\n\n The order of stones as well as their shape is not random. We'll revise them once more:<\/p>\n\n\n\n Everything is beginning with Space, initial expansion, which could be characterized rather by denial than by approval (First stone) \u2026 Then the drop of Life is arising in the space (Second one) and thickening to the Planet (the Third stone). Life on the Planet is developing and, in the unity and fight with Nature \u2013 a Man is born (Fourth stone). A lowest point of materiality is reached, and ascending way is beginning. A Man in his creativity is touching to Perfection (stone Five). Feeling a requirement of development, he is going to the Wisdom (stone Six). And, finally, he is reaching his Treasure (Seventh).<\/p>\n\n\n\n The Eighth stone, \u201cBirth of the Star\u201d means awakening the Spirit in human consciousness, it corresponds with Christmas. The Ninth, \u201cGreat Sacrifice\u201d (the Crucifixion) means renunciation of material and acceptance of the priority of spiritual values. And, finally, The Tenth stone, \u201cMystery of Universe\u201d symbolizing recognition that the inner world of a man is equivalent to the infinity of Space and corresponding with the Resurrection of Christians or Enlightenment of Buddhists, when a man becomes a conscious collaborator of Space Creative Powers\u2026<\/p>\n\n\n\n There are seven stones of unusual shape and three \u2013 sacred ones \u2013 are standard. But what do these ordinary forms mean? Square \u2013 Triangular \u2013 Circle: perfect DAO, three stages of Spiritual Way, shown in the stone \u201cDrop of Life\u201d, - Awakening, Renunciation, Transformation. First seven stones show the septenary cycle of manifestation of the Spirit in the material world \u2013 descending branch to the point of materiality to the ascending till the uniting with the Space.<\/p>\n\n\n\n MYSTERY OF THE UNIVERSE<\/em><\/strong><\/p>\n\n\n\n \u201cCognize yourself \u2013 and you'll know the world.\u201d With this thought in his mind Scholar was working, having locked his study. He plunged into the depths of psychology, physiology, anatomy examining himself from all possible sides in search of the great Mystery of the Universe. At last he realized that he reached the bottom but didn't approach his goal. Then he went outside and followed his nose.<\/p>\n\n\n\n Each step brought him new discoveries. And, when our hero felt his aim quite close, he found himself before the door of his own house.<\/p>\n\n\n\n There was a note on the table. \u201cYou see,\u201d \u2013 the surprised Scientist read, \u2013 \u201cYou've returned to yourself enriched with the knowledge. A man really keeps the mystery of the Universe in himself but only in interaction with the environment. A seed cannot sprout without ground and for realizing this you had to go through the world. And now, with the experience of unity with it, you should come back to know yourself.\u201d<\/p>\n\n\n\n Scholar touched small stone in his breast pocket and he appeared that the whole Eternity looks at him by the eyes of Lion from almost forgotten meeting long time ago. And all events and fates, words and actions of all inhabitants of this intricate, multifaceted and multi-colored world \u2013 not only people \u2013 reflect at him like at the mirror.<\/p>\n\n\n\n Scholar touched small stone in his breast pocket and he appeared that the whole Eternity looks at him by the eyes of Lion from almost forgotten meeting long time ago. And all events and fates, words and actions of all inhabitants of this intricate, multifaceted and multi-colored world \u2013 not only people \u2013 reflect at him like at the mirror.<\/p>\n\n\n\n 4. Example. \"Elements.\" Stones, parables...<\/em><\/p>\n\n\n\n Another sample. This is new collection, named \u201cThe ELEMENTS\u201d. It contains five stones and \u2013 five parables accordingly. Each stone corresponds with Element (Earth, Water, Air, Fire and Ether) and also \u2013 with one of our senses (smelling, tasting, touching, seeing and hearing). Let's look briefly:<\/p>\n\n\n\n 1. \u201cAroma of the Earth\u201d<\/em><\/strong><\/p>\n\n\n\n How does the earth smell?<\/p>\n\n\n\n Our first and last refugees; the basis providing the infinite potential of growth; the beneficial soil nourishing a tiny seed of future great achievements? How is it possible to discern in this compound aroma shades of maternal care, paternal blessing and universal infinite love?<\/p>\n\n\n\n Feel the aroma of the Earth. Recall your native home.<\/p>\n\n\n\n 2. \u201cTaste of the Depth\u201d<\/em><\/strong><\/p>\n\n\n\n We do not notice the taste of water. <\/p>\n\n\n\n Our eye does not discern separate colors in the synthesis sun light. Is it possible to divide a sparkle of dewdrop or the ocean depth into the taste compounds? The salt of experience, spicy richness of memories, slight bitterness of parting and \u2013 sweetness of mystery... Is the intensity of separate compounds perception weakening with approaching the synthesis?<\/p>\n\n\n\n Remember about the taste of the Depth. Don't lose the particular when thinking about the general.<\/p>\n\n\n\n 3. \u201cTouching of the Hurricane\u201d<\/em><\/strong><\/p>\n\n\n\n Where is the border between the subtle and the devastating? <\/p>\n\n\n\n A number of the smallest particles happen to change into a new quality and \u2013 flying snowflakes become the terrifying avalanche, sparkles gather in the forest fire, a merry song of a stream grows into the roar of the waterfall. Can we feel the force in its first light touch? <\/p>\n\n\n\n Enjoy the breath of the fresh wind. But remember, that it might be the first touch of the hurricane.<\/p>\n\n\n\n 4. \u201cLook of the Flame\u201d<\/em><\/strong><\/p>\n\n\n\n We like to look at the Fire. <\/p>\n\n\n\n There is no permanent in it, each moment of its inimitable play seems to be the Eternity. We like to be lords of the Eternity, admiring glows of swiftly flashing millenniums, creation and destruction of numerous Universes.<\/p>\n\n\n\n We like to look at the Fire. And usually fail to notice its look in response\u2026<\/p>\n\n\n\n 5. \u201cEcho of the Infinity\u201d<\/em><\/strong><\/p>\n\n\n\n It is difficult to hear the Silence. <\/p>\n\n\n\n So, an imperceptible trembling appears in the space \u2013 not a sound, but anticipation of Sound, not an image, but its essence. The pervasive Harmony penetrates into us, washing our consciousness by soft waves of the ether. What is the Great Emptiness \u2013 Presence or Absence? What is Life itself?<\/p>\n\n\n\n We rarely manage to hear the Silence. The music of the distant Worlds sounds inside us by the Echo of Infinity\u2026<\/p>\n\n\n\n 5. Peculiarities of evaluating stones as art objects. An example from Art Monaco. Art dealers, exhibitions, auctions. Working with collectors.<\/em><\/p>\n\n\n\n How can such works be evaluated? In such cases, we must use other criteria for evaluation, completely different from, say, the GIA grading system. How obvious are these images to people? What associations do they evoke? How powerful are their emotions in the audience? How accurately does the artist convey their message? Of course, all of this depends on the artist's talent and greatly influences the price of the art object.<\/p>\n\n\n\n Let me give you an example from my own experience. In 2012, I participated in the Art Monaco exhibition with a very famous Russian jeweler. The exhibit primarily featured paintings and sculptures, but there was also jewelry. Being one of the world's leading enamel artists, my jeweler friend framed his works (truly wonderful works!) in frames \u2013 just like paintings. The prices were quite reasonable compared to the surrounding merchandise \u2013 from 20,000 to 60,000 euros. Directly across from us, paintings were for sale \u2013 quite mediocre, in my opinion \u2013 and prices started at 80,000. People came up to us, looked at our display, inquired about the prices, and asked, \"Why so expensive?\" Expensive? Expensive? Excuse me, what are you buying at the booth across from us? Your impressions, inspiration, and the artist's work, canvas and paints. What are you buying here? Your impressions, inspiration, and the artist's work, gold and diamonds. Why should it be cheaper?<\/p>\n\n\n\n The answer is quite simple. The market for paintings, antiques, and other art objects is old and well-organized. It has its own rules and numerous art experts and dealers with proven methods for cultivating new artists and raising prices for their work\u2014through exhibitions, ratings, and auctions. But jewelry is still not perceived as art by anyone. Firstly, because it is still not collectible; secondly, because there are too few true artist-jewelers in the market today. And finally, the jewelry market lacks its own institution of art dealers. Of course, there are happy exceptions, such as the famous Chinese master Wallace Chan. But he has one powerful art dealer\u2014the Chinese government\u2026<\/p>\n\n\n\n To somehow organize this market, we must explain the advantages of jewelry art objects to collectors (of course, if these objects truly express an original idea and are distinguished by their perfection). They are compact and don't take up much space. They can be not only kept at home but also worn. Sometimes they hold very deep meaning and can evoke powerful emotions in the viewer \u2013 no less than a painting or sculpture. This will be tomorrow. But the day after tomorrow \u2013 I believe! \u2013 a new market may emerge \u2013 a market for cut stones as art objects. As you can see, the first steps in this direction have already been taken.<\/p>\n\n\n\n 6. Conclusion<\/em><\/p>\n\n\n\n Yes, the market is changing, and all market participants\u2014dealers, cutters, gemologists, jewelers\u2014must be prepared for these changes. New directions offer new opportunities, new competitive advantages. Evolution is irreversible; it has many paths, but one direction\u2014development. Don't be afraid to follow this path. It's always difficult for the first, but it's the first who make history.<\/p>","protected":false},"excerpt":{"rendered":" Amsterdam, Netherlands, 2018<\/p>","protected":false},"author":1,"featured_media":3536,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-3535","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"acf":[],"yoast_head":"\n