In Armenian jewelry, like in any Armenian native patterns, the central ornament is the eight petal flower, Armenian “vardyak”, rosette in foreign terminology. Called by people a "live-to die flower", it was the symbol of sun, the eternity star symbol, which was vastly depicted on Urartu frescoes, Artaxiads kings crowns, sculptures of ancient kingdom of Van.
This is the portrayal of God Anu, sky Father deity, that has transformed in shapes, but never lost its meaning. Echoing the traditional jewelry, Pregmesh’s "Karin" collection is made of superfine filigree technique, which is the same wire woven ornament resembling lace pattern. Inspired by ancient jewels, the gold edged silver frame, which encompasses the "flower of life", has a dome-shaped protuberance. This once again demonstrates the ancient masters’ awareness of the cosmic, divine nature of the symbol. The eight petal rosette, oldest depictions of which we see in pictograms, later transforms into a “chachanchakhach”, the cross-pattee of Christianity.
The wire-woven pattern of the jewelry reminds of delicate embroidery, thus not surprisingly, that eight petal flower is also used in the needlework, especially in Aintab embroidery, again as a central motive. Ancient jewelers would make the eight petal rosette of sardoniks.
With Pregomesh jewels, the red garnets and white pearls symbolizing the contradictory nature elements complement the "life flower" and enrich the collection "Karin". Why Karin? Karin (Erzurum) was one of the oldest and most powerful economic and cultural cities in historic Armenia, which had been proclaimed in various crafts, from copper smiths to carpet weaving, tailoring and especially jewelry.
Author: Armine Tadevosyan