The art of jewelry has influenced many cultures. Traditionally, jewelry displays distinctive character, presents intense artistic images, and carries rich cultural assets through plasticity and expression. The language of jewelry is fairly complex and hard to interpret. Just like popular ancient languages that dominated in certain historic periods, such as Aramaic, Hebrew, Persian, Greek and Latin, the language of jewelry and the jewelry items themselves have changed and developed in time, according to laws and customs of historical development. Stylistic   evolution from the Early Oriental to Hellenistic-Romanian trends served as a basis for the stylistic changes in the art of jewelry making. Aside from its external beauty properties, every jewelry object has a second, internal life triggered by its semantic significance and perceived through one’s mind, intuition or aesthetic sense.

The surviving jewelry fragments, casting molds and models testify that most of the jewelry was produced by casting method. For instance, differently shaped rings (see Treasures of Oxus, Tajikistan Tillya-tepe, Afghanistan) could be created in casting forms made of sepia shells or fine-grained sand

The art of jewelers is one of the most pronounced phenomena in Eastern cultures. It is distinguished in its fulfillment and originality of artistic images, and carries within immense sources of expression. Jewelry art of ancient Central Asia is a complex, non-synonymous phenomenon. In order to comprehend its conformity to natural laws, as well as such conformity of Central Asian culture as a whole, it is necessary to understand its meaning on the basis of new information provided by the latest developments and discoveries in science, especially archaeology.

The aesthetic language of art encompassing a vast historical period is very complex and can be difficult to read. In order to understand those artistic facets that make jewelry art from IV BC-IV AD unique we will utilize the following tools:

1. A set of major concepts used in applied art (i.e. a type of “dictionary”)
2. A set of rules that define how these concepts can be blended and transformed within the “text” of the aesthetic language (i.e. “grammar”)

Variety of forms and designs is an identifying feature of ancient Central Asian jewelry. The major types of adornments that existed during the given time period are distinguished by principles of wearing, resulting from ritual and socio-cultural peculiarities of the given type of article. Thus, classification of articles depends on direct connections with the conventions of social etiquette and the aesthetic forms of everyday behavior, hence we distinguish: head, temple, ear, neck, chest, hand, and foot adornments, as well as sew-on pieces, and finally votive plates and small articles. Let us consider the most frequently found types and forms of jewelry.

Jewelry is one of the most conservative arts, where technology and decorative elements prevail without fast changes. It is a property of jewelry art that give us for example a great opportunity to find Buddhists elements in 19th-20th centuries. One of the many examples of Tajik jewelry is a diadem. Traditional wedding crown or diadem is well-known as a "Kosh-tillo" or "Tillya-Kosh" (Golden eyebrows) has a heraldic composition of lion, monkey and turtle figures. These three animals are representative of Buddha.

Oxus jewelry Each jewelry item represents a certain information symbol. Drawn from everyday life, as well as from epos and myths, apothropaic emblems found in jewelry had a magic power. The popularity of every particular subject was associated with concepts of the epoch. The jeweller was involved in the events of his epoch; ideas and concepts of the time were not foreign for him and were frequently reflected in his art.

One of the well-known treasures of XXth century was found in the Northern Afghanistan- “Golden Hill” or Tillya-tepe.

Tillya-tepe provided researchers with samples of ensembles of adornments. Here in 1978, a joint soviet-afghan expedition uncovered six rich burials (five female and one male), in which many adornments that date back to the begging of this era were preserved. Altogether, 20000 gold jewelry articles with insertions of precious and semi-precious stones were found. The female complexes differ stylistically from each other reflective not only of the differences in the ethnicity of the buried women but also of the differences in fashion. The abundance of jewelry articles in these burials suggests the existence of a jewelry workshop, for such a large amount of sew-on disks could have only been made by several masters.

My acquaintance with the art of Hovaling, had only found an insignificant part of jewelry articles that included "brooches-fibulas," which is known as "kulfi-girebon".[1] The Fund Collection of jewelry articles, at the Museum of Ethnography, replenished its collection with jewelry pieces made by Kulyabian jewelers. These articles also include the well-known brooches. These brooches were not only made of silver, but also from German silver (an alloy of nickel and copper).

Today it is not a favorable time for the country wanting some humanitarian assistance to trouble about vogue’s fancies and nevertheless, what in vogue there recently? Surely jewelry is. Why? This is hardly a single reliable thing, which still is valued both in internal and international market. Mostly, by the way, due to the outstanding properties of Soviet precious metals, but only … In the present volcanic situation people seek for guarantees of stability, for their investments.