Stone has had enormous impact on us both creatively and technologically. Minerals gave humanity the first chance to paint our lives with color and story, and take it with us for others to see. Today we still rely intensely on minerals in a utilitarian (now industrial) setting for our survival, just as we have each time hunting or war became easier due to new lapidary technologies.
I love a good story, and the story of our relationship with stones and why so many of us are drawn to them is a fascinating look at what makes us who we are. It conjures a sense of awe and wonder that reminds me of being a kid again. My class “Flesh and Stone: A Course on Lapidary Anthropology” was presented at the 2015 Association of Professional piercers conference to a room full of my peers - body piercers and other industry folks with hunger for knowledge and a yearning for beautiful adornments.
When I started thinking about how to talk about this topic, and how to engage a few hundred people for two hours, it really boiled down to one question. A question that I find myself asking often in my studio as a precursor to nerd time with customers.
“Do you guys like rocks?”
The giddy response confirmed I was in the right place. I hope the same is true for my readers here.
This is something I have been thinking about for a long time. As a maker, it’s important for me to understand the history of my techniques and materials. Stone in particular has had an extremely long and very fascinating history of use, and it seems to be an important part of nearly every culture’s decorative arts in one form or another.
I have been interested in stone for most of my life. I grew up in the mountains of Northwestern Virginia and West Virginia, and from a very young age I was interested in stones and their formations. Mountain roads are fascinating because they often cut into the mountain, revealing millions of years of history in bands of colors and textures stacked a hundred feet high. My father was a roadway engineer, and I would spend time on job sites digging through rock piles and looking for interesting minerals and fossils.
My mother recalls the start of my first business in second grade when I started an enterprise selling bits of stone I found around our apartment building to other neighborhood children. I may have embellished the origins or composition of some of those stones, but hey, I was young. Once I discovered rock shops, where you could see and touch stones of different colors and textures from around the world, I was hooked. Collecting, appreciating, and working with stone has been a lifelong endeavor. I have discovered during the course of many years of research that time after time, we see this scenario play out in periods and cultures throughout history. As early as prehistory, before we were a modern human species, we learned to seek out minerals for their unique colors and light effects, as well as their immensely useful utilitarian characteristics. For more than a hundred thousand years, we have been drawn to stones. Our very survival and our artistic evolution depended on them.
During my lecture I asked for a show of hands of how many in the audience had ever collected stones, been fascinated by a stone, or wear or sell jewelry containing genuine or synthetic gemstones. Nearly the entire room raised their hands. This wasn’t a surprise. It’s my opinion that interaction with stone is a universal human experience much like adornment of the body. I believe the characteristics that I’ll set forth in the coming blog posts are very enticing to our creative brains, and that we are hard wired to appreciate stone because it has been such an important part of our history.
Today, it seems that aesthetic, more than any other single characteristic, draws us toward the world of stones. I share the common opinion that aesthetic is one of the most interesting aspects of stones, but not why you might think. The colors and light play found in stones are certainly beautiful, but there’s something deeper about these characteristics that has had a profound impact on humanity.
It turns out that aside from things which are alive (birds, bugs, plants), colors in nature, and particularly jewel tones, are actually very rare. Most vibrant colors are either the result of environmental light play, such as sunsets or the color of a lagoon, or they are biological - flowers, butterflies, etc. In either of these cases, the color is not permanent. It is location specific, temporary, or sadly, it dies.
Think about the most beautiful things you’ve seen in nature. Things you’ve seen in person or in a photograph. I’ll share a few of my personal favorites:
(Lake Kelimutu on the island of Flores, Indonesia :: Rosino, Wikimedia Commons, License CC-BY-SA2)
(Rice Paddy, Ubud, Bali, Indonesia :: Jared Karnes)
(Morpho Butterfly :: Didier Descouens, CC BY-SA 4.0 via Wikimedia Commons)
(Azaleas, Richmond, Virginia :: Jared Karnes)
(Hierve el Agua, Oaxaca, Mexico :: Jared Karnes)
What do these beautiful plants, animals, and places have to do with our topic?
The color of a beautiful remote volcano lake frozen in a tiny Ethiopian Opal.
The intense green of new rice captured in a piece of nephrite jade from British Columbia, Canada.
The incredible blue of a Morpho butterfly wing trapped in a slice of labradorite from Madagascar. It's also interesting to note that neither the Morpho wing or the labradorite are actually blue - both are light tricks! A topic for another post.
The intense pink-purple from an azalea bush memorialized in a sapphire from Kenya.
The blues and greens of the mineral pools and sky at Hierve el Agua displayed in a handful of turquoise.
Look around you. Look at the clothes and jewelry you and others are wearing. When you walk through a public space, pay attention to what you see. Our lives are crammed full of color. In a lot of ways (particularly in Las Vegas, where I delivered my original lecture) we are assaulted by it. It's hard to imagine a world without color in this way, but if you take away all of the colors that we've learned to create ourselves, and all of the colorful stones that have inspired many of them, we're left with primarily green (chlorophyll) and earth tones.
For thousands of years, blue and purple in particular were nearly non-existent from the language and aesthetic of most cultures. Once we discovered the processes for making permanent mineral based dyes and paints in these colors, great effort was invested into creating and obtaining them. These colors were so expensive that only the world's wealthiest individuals were able to surround themselves with objects and artwork containing them.
Color has played a large role in the identities and uses of stones in most cultures which had access to them. From the sun-like glow of amber, which is depicted in Prehispanic artwork and even mentioned in the Christian bible, to the associations of turquoise with the sky and water present in both Native American and Tibetan cultures, color has been the primary way stones have found their way into our lives. (More on cultural use of stones in a future post).
With our modern widespread use of colors and our creation of synthetic stone materials, we are reproducing colors and patterns that we desire in part as a result of our interactions with stone. I am not personally interested in using synthetic minerals in my own work, and I think there are important conversations to be had about intent, identification, and ethics in making and using these materials, but I think it is worth pointing out that what is really happening in these situations is the democratization of color, which surely is not a bad thing.
Hundreds of thousands of years is a long time to get acquainted with a friend. Stone has been a guide for us through the ages, and it is not a stretch to say that we owe our evolution as a species to our discoveries of some of the physical characteristics of stone. Along the way, we found incredible beauty in a package that we could carry and show to others. Stone gave us the ability to paint our lives with color, and it has directly influenced how we have come to know our gorgeous palette.
Founder of Lithicoin and Onetribe
I'd like to send more Lithicoins out into the world, so I have a proposal for you! Take a few minutes to complete three steps, and I will give you and your friend a choice of either Raw Edge Amethyst or Moss Agate Lithicoins.
All Lithicoin stone coins ship in an protective case to avoid damage during shipment and allow the coins to be easily stored without fear of damage. You may wish to remove your case to carry your "Pocket Safe" coin or simply examine a more fragile coin in closer detail. The cases seal tightly, and they do take some care to open. Here's how we open them.
Lithicoin was designed to be a more sophisticated and convenient way to collect our favorite stones, but beyond being collectible, we see them as a tool. In my jewelry workshop, I often use small pieces of material to explain color and pattern concepts to customers, and I use them when I sketch new jewelry. The Lithicoin concept was designed with several uses in mind. Here are a few ways I think they can be a useful tool for you:
The catalog number is unique to each individual Lithicoin, and allows your coin to be accessed at any time by typing this number into the search field on our site.
This is the location where a Lithicoin's material is sourced. We are as specific as possible in the main coin description when we know more about origin (sometimes we will know a specific mine location), but we try to at least note the country. Sometimes we may not know the origin of a particular piece of material, and these coins are marked as "Unknown."
Standard size for Lithicoin stone specimens is approximately 32mm x 3mm (1.25"x0.11" or 1 3/4" x 1/8"). Size can vary by about .5mm (one half millimeter) due to being hand carved from a natural material.
Opacity refers to the translucency of a coin material when backlit. Materials that do not allow light to pass through are considered "Opaque." If light passes through a part or all of a Lithicoin, it is considered "Partially or fully translucent."
Our durability ratings are designed to help you understand how a Lithicoin should be handled. We use the following ratings as suggestions, but please understand that we can make no guarantees about the actual durability of any natural material.
Pocket Safe: This Lithicoin is suitable for frequent handling or daily carry without the case. Try to minimize the number of additional hard objects carried in your pocket or bag (metal coins, etc.) to minimize the chance of breakage or scratches. Many stones are harder than the metals in our everyday lives, but we prefer a cautious approach.
Handle with care outside of case: This Lithicoin can be removed from the case and handled but should not be pocket carried. Exercise caution to avoid drops, and do not apply pressure or any twisting motions.
Fragile, case recommended: This Lithicoin has physical characteristics such as fragile crystal coverage, internal seams or planes, geode sections, or is a brittle material that can be easily scratched or broken. These coins should not be removed from their cases unless you intend to sit down and carefully enjoy them.
We can't predict every scenario a coin might encounter, and natural materials can be unpredictable. We do not provide any guarantee or warranty in the event of damage.