Tsarist Eagles – Heraldic Brass Sculpture and Gilding
From Hand-Chased Eagle Reliefs to Architectural Metalwork
Tsarist Eagles explores the relationship between heraldic imagery and sculptural metalwork. The double-headed eagle, historically associated with imperial authority, becomes the defining element of a composition in which the central handle, corner reliefs and architectural brass body form a unified object.
The work was conceived and executed within Kostylo Atelier, combining traditional metalworking techniques with an individual interpretation of heraldic ornament.
The box was constructed from 3 mm brass sheet, measured, cut and assembled through silver soldering. Once the structure was joined, the internal connections and exterior surfaces were progressively refined by hand. Filing removed excess solder, while successive stages of sanding established the precision of the edges and the continuity of the flat metal surfaces.
Following the initial mechanical refinement, the brass body was copper-plated to provide an intermediate surface for further correction and polishing.
This stage allowed minor irregularities to be addressed before the final decorative finish. The broad, uninterrupted planes of the box required particular attention, as their reflective character would reveal even small imperfections after gilding.
The double-headed eagles were developed as individual sculptural elements rather than applied surface decoration. Cast in brass within the atelier, the figures required extensive hand-finishing to establish the definition of their wings, crowned heads and ornamental details.
Chasing and filing brought precision to the relief surfaces, distinguishing the raised forms from the recessed areas. The completed figures were prepared for silver plating, introducing a deliberate material contrast with the gilded architectural body.
The repetition of the heraldic motif across the handle and corner elements creates a visual relationship between the central sculpture and the surrounding structure.
The positioning of the sculptural elements required a precise relationship between the heraldic figures and the geometry of the box.
Mounting points were measured, drilled and threaded to accommodate the central handle and individual corner reliefs. Their placement was determined not only by the requirements of assembly, but also by symmetry, spacing and the visual balance of the completed composition.
The figures and architectural body could therefore be prepared separately before their final integration.
The completed metalwork bears the hand-engraved Kostylo signature. Placed on the underside of the box, the inscription identifies the work while preserving the uninterrupted character of its visible surfaces.
The signature forms part of the object’s physical history, connecting the finished composition with the atelier in which it was created.
A separate presentation case was constructed to accompany the finished work. Its dark-green exterior and white satin-lined interior provide a restrained setting for the gilded and silver-plated surfaces.
The case incorporates individually crafted brass hinges and clasps, finished with gilding. These fittings extend the atelier’s attention to material and construction beyond the principal sculptural object.
In its completed form, Tsarist Eagles brings together the symmetry of heraldic sculpture and the measured geometry of a gilded brass structure.
The silver-plated figures establish points of sculptural emphasis against the reflective gold surfaces. Their detailed modelling contrasts with the restrained planes of the box, creating a composition in which ornament and construction remain closely connected.
The work reflects an interest in the transformation of historical symbolism through individual modelling, material decisions and traditional metalworking techniques.
Tsarist Eagles represents an exploration of how inherited visual symbols can acquire a different presence through sculptural interpretation.
The double-headed eagle retains its historical associations, while the act of modelling, chasing and integrating the figures into the brass structure establishes the individual character of the work.