Viisteist aastat ehte- ja sepatööd Viljandi kultuuriakadeemias / Fifteen Years of Jewellery-making and Metalwork at the Viljandi Culture Academy

Abstract

The article provides an overview of the history, development, and activities of Metalwork as a speciality at the University of Tartu Viljandi Culture Academy from 2011 to 2026, based on my memories and experiences as speciality manager and lecturer. It discusses the background to establishing the specialty, the specific nature of the studies, the development of the learning environment, and the role of seminar papers and final theses in maintaining the academic and heritagetechnological identity of the field.

The Metalwork speciality was established in 2011 as the third curriculum of the Department of Native Crafts, alongside textile and construction, with the aim of preserving and reviving traditional metal art skills. The curriculum was initiated by the head of department Ave Matsin, jewellery artist PhD Kärt Summatavet, project manager Signe Susi and several recognised masters in the field of metalwork. The project was supported by the European Social Fund’s Pärtel project.

The goal of the curriculum is to train specialists in jewellery and blacksmithing with broad technological preparation and research skills that support creative work. Studies begin the with acquisition of a broad technological foundation, during which all students are introduced to jewellery making, blacksmithing, sheet metal forming, repoussé, and metalwork fundamentals, after which they specialise in either jewellery or blacksmithing. In addition, general art subjects and researchsupport courses play an important role. The study process has been enriched by masterclasses, guest lecturers, company visits, and collaborations with other universities or disciplines. Overtime, the speciality’s format has shifted from regular study to block-mode study, yet the same principles are upheld despite tighter schedules.

The section describing the development of the work and learning environment provides an overview of the development of the metal workshops at the Viljandi Creative Incubator and the subsequent development of the Cultural Academy’s Vilma study complex. Consistent and purposeful work, shared responsibility between students and instructors under the guidance of workshop masters has helped establish today’s professional and welcoming study environment and foster an understanding of work culture.

The article reviews seminar papers and final theses that reflect students’ interests, skill development, and contributions to documenting the history of Estonian metalwork. A total of 44 thirdyear seminar research papers have been completed, covering topics such as ethnography and archaeology, jewellery and blacksmithing techniques, contemporary history and master studies, as well as sources of inspiration and teaching in metalwork. Students’ practical skills give their research a special value as they under stand the materials, techniques, and work processes from a craftsman’s perspective and can analyse objects through both theory and practice. Final theses have generally been creativepractical, but there have also been technological studies and experiments, reconstructions, and replicas. Across the first six cohorts, 41 theses have been defended. A significant part of each final thesis is the practical work, supported by a written component that describes the creative process and contextualises the work through history, theory, or technological descriptions. Often the final thesis is connected to or continues the topic of the seminar paper. The written parts of the final theses are available in the University of Tartu’s digital archive ADA.

Most final thesis projects have been various types of jewellery and jewellery sets inspired by ancient and ethnographic jewellery, Estonian and broader Finno-Ugric mythology, folklore, as well as different technologies themselves. Among more conventional jewellery, rings, necklaces, brooches, and similar items have been produced, but there are also pieces with unusual forms or modes of wearing such as decorative masks, tunnel earrings, headpieces and hip adornments. Techniques used include enamelling, granulation, repoussé, engraving and more. In addition to the common use of silver, materials such as titanium, mokume-gane, wood, bone and plant fibres have also been used. Among reconstructions and replicas, notable works include technologically and historically researched and recreated knife sheaths with jingles, double-loop brooches, various blades, forged nails, door hinges and more. Students have forged utilitarian items from bicycle racks to suits of armour. One impressive work is a castiron furnace, which has also been used for iron casting in the courtyard of the Vilma building. Among purely technology based works, research into filigree and punching techniques stands out. The final theses collectively provide a broad overview of everything that has been taught over the years.

The transition to fully session-based study has ensured the continuation of the speciality, but students’ independent workload has increased. At the same time, interest in the specialty is rising again, and many graduates continue working professionally in metalwork. In the long term, there is hope to increase young people’s interest in craft professions and strengthen the position of metalwork in Estonia’s education landscape. The development of the Metalwork speciality has been the result of persistent work and dedication, despite setbacks and the complexities of teaching and learning the discipline. The speciality combines traditional craftsmanship with contemporary creative thinking and research-based approaches, nurturing new creators who preserve and advance the traditions of Estonian metal art