Omani silver taswira amulets: fertility and protective jewellery

by dr. Sigrid van Roode | Magic & Amulets

Rare amulets from Oman

Omani silver taswira amulets

Updated October 2, 2025

Bringing you super rare amulet pendants from Oman! Among the many forms of Omani jewellery, there is one type that stands out for both its rarity and meaning: the silver taswira amulet. These small, human-shaped pendants are not just ornaments. They were believed to help women conceive and to protect children from harm. Taswira amulets today are seldom seen, making them all the more intriguing for anyone studying or collecting traditional Omani jewellery. In this post, part of my series on amulets & charms in Middle Eastern jewellery, we’ll look at what these amulets are, what they meant, and how they were worn.

Photocollage of a vintage photo of a Baluch Lady from Muscat and the Muscat cityscape, made by Sigrid van Roode

**Omani taswira ornaments:** what are they?

These small, human-shaped pendants are called taswira. [1] They are quite rare: already in 2000, Forster mentions them as ‘unique’. [2] They seem to have been worn throughout northern Oman, and are executed in different regional styles. Pendants from the area of Nizwa are recognizable by their little arms, but a comprehensive regional study still needs to be carried out. [3]

Their name means ‘image’, and as you see, they represent a human form with heavy hips and belly. In two cases in the above image, it’s only the legs and hips that form the amulet.

Fertility and protection: the meaning of taswira amulets

So, what are these for? As with many amulets, they can be used for several purposes: they would be worn by women wanting to become mothers as well as by small children. The shape of the amulet accommodates both: the heavy hips and belly feature in fertility symbols around the world, and the tiny figure fits a tiny human.

Protecting children has always been incredibly important, and so these amulets in the shape of stylized human forms have been cherished deeply.⁠

A silver hair clip from Oman, called halqa

**How taswira amulets** were worn in Oman

Morris and Shelton note that they were worn strung onto a rod, with a red bead on either side: a characteristic style of Oman. [4] But that is not the only way these pendants were worn.

They could also be strung onto a short necklace, along with a few silver and coral beads. Forster shows such a necklace which also holds a few silver beads, a perfume bottle stopper set in silver, and a piece of horn. [5] You’ll see examples of these indvidual components in the image above.

Very importantly, she also mentions that these necklaces do not follow a set design: as I have written about earlier, the composition of a necklace is not set in stone. A woman would string these pendants with whatever materials she felt would enhance its efficacy.

Interestingly, similar added pendants would be worn by children. As child mortality rates used to be high, children all over the world are often seen wearing amulets of one type or another. In Oman, small amulets of teeth, horn, bone, coral etc would be worn, strung on a necklace alongside a small silver amulet container.

Children would wear the taswira around their neck, but also braided into their hair [6]: another way in which hair and amulets are closely connected.

**Omani taswira amulets as** tangible symbols of love and care

These amulets are unique to Oman, and nowadays are quite rare. They are still very little researched, and it would be great to compile an overview of all these currently in collections, with their collection history, any notes taken and provenance, and so to learn more about them!

And as with all forms of amulets, I love how they share the universal hope of being safe and protected. ⁠

**Omani taswira amulets:** a universal sentiment

These silver pendants, whether strung on rods with beads, braided into hair, or worn as necklaces, carried the hopes of fertility, safety, and long life. They show how deeply jewellery was tied to the most human of concerns: the well-being of family and children. Though rare, their presence in collections today allows us to trace the continuity of belief and practice across Oman’s jewellery traditions. Taswira amulets may be small, but their cultural weight is immense!

Frequently Asked Questions about Omani silver taswira amulets

What is a taswira amulet in Omani jewellery?
A taswira is a small, human-shaped silver pendant from Oman, believed to offer fertility and protection.

Why are Omani taswira amulets considered rare?
They are not often seen in old photographs or old collections, and few examples survive today, making them rare cultural artefacts.

How were taswira amulets worn in Oman?
They could be strung on rods with beads, worn as necklaces with coral and silver, or even braided into children’s hair.

What was the purpose of taswira amulets?
They were believed to help women conceive and to protect children from harm, reflecting universal hopes of safety and life.

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References

[1] M. Morris & P. Shelton 1997. Oman Adorned. A Portrait in Silver, p. 107.

[2] A. Forster 2000. Disappearing Treasures of Oman, p. 127.

[3] M. Morris & P. Shelton 1997. Oman Adorned. A Portrait in Silver, p. 107.

[4] M. Morris & P. Shelton 1997. Oman Adorned. A Portrait in Silver, p. 107.

[5] A. Forster 2000. Disappearing Treasures of Oman, p. 47-48.

[6] M. Morris & P. Shelton 1997. Oman Adorned. A Portrait in Silver, p. 107.

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The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Carnelian as amulet: history, symbolism and protective power

by dr. Sigrid van Roode | Magic & Amulets

The blessed stone

Carnelian as amulet: history, symbolism and protection

Updated October 2, 2025

If there is one stone that you’ll find often in ethnic jewellery from the Middle East and North Africa, it has to be carnelian. From the river valleys of Mesopotamia to the tombs of Egypt and the workshops of Rome, this stone was shaped into beads, seals, and amulets. In Islamic traditions too, carnelian has held a special place, often engraved with verses or carried as a protective ring. In this article, part of my series on amulets and charms in jewellery, I’ll explore the history and meaning of carnelian.

A Fayum portrait from Egypt, paired with a gold and carnelian necklace as depicted in the portrait.

Gold choker necklace from ancient Egypt, with carnelian and lapis lazuli beads.

Carnelian in Antiquity: Mesopotamia, Egypt, and Rome

Red carnelian was already a favoured stone in ancient Mesopotamia and Egypt. [1] In Akkadian, its name was samtu. In ancient Ur, carnelian in general seems to have been most powerful when used together with lapis lazuli, instead of on its own. [2]

Queen Puabi and her servants were buried around 2,500 BCE in currrent-day Iraq, wearing abundant jewellery in which carnelian featured prominently: see some of their necklaces in the gallery above.

For the ancient Egyptians, carnelian was important on its own. They called it herset, and mined it in the Egyptian desert as well as in northern Sudan. Because of its colour, it was associated with the glow of sunrise and with blood. A certain type of carnelian beads was also used specifically for the dead. [and you’ll find tons of symbolic meaning of ancient Egyptian jewellery in the e-course!]

The Romans favoured carnelian, too: the majority of engraved stones that were worn in rings were made of carnelian. And as such, it continued to be a popular stone for engraved gems in the Byzantine period. [3]

Carnelian in Islamic amulets and rings

That popularity continued during the Middle Ages. You will often find carnelian plaques inscribed with Qur’an verses, or a carnelian stone set in a simple silver ring. That is because carnelian is associated with religion: it carries meaning in Islam, too.

In the hadith it is said that ‘the one who wears a carnelian ring will always know divine favour and happiness.’ [5] The ring of the prophet Muhammad himself may also have sported a carnelian.

Another hadith says ‘Wearing a carnelian seal banishes poverty’ [6] This combines both the power of rings with that of carnelian: see more about rings as amulets here.

A silver Turkmen bracelet with glowing carnelian.

A set of 9 Tuareg silver and carnelian rings.

Carnelian in Middle Eastern and North African jewellery

Carnelian is also important in informal ritual and beliefs. And that is how we find it in jewellery.

Through sympathetic magic, it was believed to alleviate fever, or help with blood-related illnesses and problems such as heavy menstruation. That is because of its colour: thick and heavy like blood, or like the flushed colour of someone with a fever or inflammation.

Let me take you on a quick tour around the region!

In nineteenth-century Yemen, nomadic tribesmen wore a carnelian set in silver around their neck to stop the bleeding if they became injured. Yemen is also where the best carnelian was believed to come from. [7]

In some cases, a silver setting is said to have the opposite effect. It would prevent the stone from doing its work. Unpolished carnelian beads for example, not placed in a setting, were said to cure eye diseases. [8] Their similarity to the irritated eyeball is what makes them believed to be efficient – again, a form of sympathetic magic.

For Bedouin women in southern Palestine, a brown variety of carnelian would increase affection towards the wearer. [9]

In the Maghreb, carnelian was believed to help to remain calm in heated situations such as arguments or fights. Alternatively, it might help to cure bleeding gums, and would have a freshening effect on the breath in general. [10]

The use of carnelian, as well as other agates, is also meaningful to the Tuareg. It has a strong protective aspect, and so you’ll find it often set in rings. As in many other cultures, carnelian is associated with blood and life through its colour. [11]

The lasting meaning of carnelian as a protective stone

The beliefs attached to carnelian are very old, as you have seen in this article.

What makes carnelian so fascinating is its continuity. Civilisations as far apart as ancient Egypt, medieval Yemen, and the Bedouin communities of North Africa all turned to the same stone for its protective and symbolic qualities. Whether it was believed to stop bleeding, bring divine blessing, or simply carry the strength of the sun, carnelian’s role as an amulet shows how jewellery has always been more than adornment.

The use of carnelian is an ancient tradition, and I love how it connects us to the distant past!

Frequently Asked Questions about carnelian as amulet

Why was carnelian important in ancient jewellery?
Carnelian was associated with blood, life, and the glow of sunrise, making it powerful in Mesopotamia, Egypt, and Rome.

What role does carnelian play in Islamic jewellery?
Carnelian in rings and pendants inscribed with Qur’anic verses were believed to bring divine favour, protection, and even banish poverty. This is based in the hadith.

How was carnelian used in Middle Eastern folk traditions?
It was believed to stop bleeding, ease fevers, and increase affection, often linked to its red colour and sympathetic magic.

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References

[1] See for example R. Beal 2022. Dividing a God, in: Mirecki, P. & M. Meyer (eds) Magic and Ritual in the Ancient World, Brill, p. 202 for a statue of a goddess inlaid with carnelian.

[2] See Benzel, K. 2013. Puabi’s adornment for the afterlife. PhD-thesis, Columbia University for a linguistic and archeological discussion.

[3] Bosselmann-Ruickbie, A. 2015. The Symbolism of Byzantine Gemstones: written sources, objects and sympathetic magic in Byzantium, in: Hilgner, A, S. Greiff & D. Quast (eds) Gemstones in the first millennium AD, RGZM Tagungen Band 30, p. 293.

[4] Porter, V. , L. Saif & E. Savage-Smith 2017. Medieval Islamic Amulets, Talismans, and Magic, in: Flood, F.B, & G. Necipoglu, A Companion to Islamic Art and Architecture, p. 543.

[5] Porter, V. 2011. Arabic and Persian seals in the British Museum, p. 1.

[6] Porter, V. 2011. Arabic and Persian seals in the British Museum, p. 21.

[7] Porter, V. 2011. Arabic and Persian seals in the British Museum, p. 22.

[8] E. Doutte 1909, Magie & religion dans l’Afrique du Nord, p. 84.

[9] Biasio, E. 1998. Vom Zelt ins Haus. Beduinen im Negev, p. 235.

[10] E. Doutte 1909, Magie & religion dans l’Afrique du Nord, p. 83.

[11] See Seligman, T. & K. Loughran (eds) 2006. Art of Being Tuareg. Sahara Nomads in a Modern World, p. 184.

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Colour symbolism in Middle Eastern jewellery

by dr. Sigrid van Roode | Magic & Amulets

Red, blue, green, and beyond

Colour symbolism in Middle Eastern jewellery

Updated October 2, 2025

Colours in jewellery are never chosen at random. In Middle Eastern and North African traditions, colour has long been understood as more than decoration: it carries meaning, protection, and symbolism. Red could signify blood and fertility, blue was tied to water and the skies, amber evoked the warmth of the sun, and green spoke of growth and abundance. Looking at colour symbolism in jewellery helps us understand not only the objects themselves, but also the cultural worlds in which they were worn. In this article, part of my series on amulets and charms in jewellery, I will go over the main colours in jewellery from North Africa and Southwest Asia.

Colour symbolism: flexible and varied

The importance of colours and their capacities is huge. The use of the two main colours, red and blue, is a given that appears in jewellery everywhere. But other colours are chosen on a local level.

And that is where we find a great variety in use throughout North Africa and Southwest Asia. The uses of colour vary from one region to another, from tribe to tribe and from family to family.

They also vary greatly throughout time: the same colour can be believed to have a very different meaning in different historic time periods. [1]

So, this is a major aspect to bear in mind: there is no uniform use of colour in a region as vast and as varied as this.

In the image above (click to enlarge it) you’ll see a variety of amulets, beads, rings, earrings, necklaces, fibulas and hair ornaments. All of these are not randomly given a colour, but each and every one carries meaning in the culture it comes from.

Red in Middle Eastern jewellery: blood, life and protection

Red is a fierce colour: it stands out from its surroundings and is very difficult to go unnoticed. It captures the attention of the onlooker and almost acts as a stop or danger-sign, and that capacity makes it very well suited to be an agent against evil forces. It is bound to catch your eye.

In Pakistan, red powder was sprinkled at the entrance of a house to keep spirits away [2], and in Algeria, the Shawia considered everything red as a powerful ally against the evil eye [3].

As the colour of blood, red is also very much a colour worn by women. Blood is associated with fertility and life, as it surrounds many life events such as marriage and giving birth, but also in the monthly cycle.

That is partly why red is also a predominant colour in dress throughout the region, and why henna is valued for its reddish colour. [4]

Blue in jewellery: water, skies, and protection against evil

Blue is the natural counterpart to red. It’s a cooling colour, related to water, the moon and the skies.

As blue does not occur as much in nature as red, blue in jewellery is often man-made. Blue glass, enamel or faience often serve to add a pop of blue in jewellery. [5] Materials that have a blue shade such as turquoise are also used for their protective qualities.

The most widespread use of blue is in the well-known eye beads: see more about those in this article. You will find blue beads worked into necklaces and charms, notably for children.

Another characteristic blue amulet is the Seven Eyes amulet: see more about that here.

Yellow: wearing sunlight

Yellow represents the warm, life-giving rays of the sun. Notably amber is much prized because of its correspondence with sunlight. It has other capacities, too: discover these in this article.

That force of sunlight may also be present in the orange-tinted carnelian, which echoes the light of dawn. In many ancient societies, carnelian in particular was regarded as representing the dawn through its colour. This is a wonderful example of how colours can carry different meanings: it is never just one capacity and its significance changes per region, and over time.

Green jewellery: abundance and fertility

Green represents growth and prosperity. [6] Through its association with vegetation, verdant hues of green bring life and fertility. In many countries, the green vegetation stands in stark contrast with the deserts, and as such green has been a significant colour since antiquity.

Changing meanings of colours over time

This importance to colour and their meaning is also rooted in the availability and technical possibilities of the times. In today’s world, we are used to a wide range of colours that simply could not be created a century ago. Colour symbolism is also strongly tied to the natural environment of the society that values it.

Take purple, for example. The process of creating purple dye was so complex and costly, that it was reserved for the super wealthy only: the Roman emperor and his immediate surroundings. And even though purple is easy to create today, it still carries that connotation of luxury and opulence.

The language of colour in Middle Eastern jewellery

The language of colour is one of the most direct ways in which jewellery communicates (along with shape and material), in almost all cultures up until a few decades ago.

Depending on the culture, colours could be used to keep evil away, to convey stages of mourning or celebration, to show wealth and access to complex processes and materials, and to help combat and cure a variety of diseases.

And of course, colours are important beyond jewellery and adornment, too. Colours govern the world of the jinn, they are associated with star signs and magical spheres; they play a role in virtually every moment of life.

Colours are used for general and very specific purposes. What these colours represented also shifted across time and place, showing how flexible and dynamic colour symbolism can be. By paying attention to the colours in traditional jewellery, we glimpse how people in the region used adornment as a language of meaning, belief, and identity. It’s rarely ever ‘just’ a colour, and I do love exploring the world of the senses!⁠
⁠
The use of colour is just one of the topics in the e-course on jewellery from North Africa and Southwest Asia: have a look and learn to read the symbolism in jewellery here!

Frequently Asked Questions about colour in Middle Eastern jewellery

Why is red an important colour in Middle Eastern jewellery?
Red is linked to blood, fertility, and life, making it a strong colour of protection and vitality.

What does blue symbolise in jewellery from the region?
Blue is associated with water, the skies, and protection. It appears in turquoise, glass, and eye beads.

Why is yellow considered powerful in Middle Eastern jewellery?
A yellow hue connects jewellery to sunlight, warmth, and protective energy.

How is green used symbolically in jewellery?
Green symbolises growth, fertility, and abundance, often linked with vegetation in desert landscapes.

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Want to learn how to read the protective powers in jewellery? This e-course rounds it all up for you.

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References

[1] W. McClintock 1991, Folk Religion in Pakistan, p. 62.

[2] M.W. Hilton-Simpson 1915, Some Algerian Superstitions, in: Folklore Vol. 26, no. 3 p. 229-230.

[3] See for example this book on medieval thoughts on coloured stones in jewellery.

[4] Westermarck 1911, The Popular Ritual of the Great Feast in Morocco, in: Folklore Vol. 22, no. 2 p. 141, mentions henna as a ‘holy colour’.

[5] See A. Popper-Giveon, A. Abu Rabia & J. Ventura 2014. From white stone to blue bead, in: Material Religion Vol. 10 Issue 2, pp. 132-153.

[6] Although green is also recognized as the colour of envy, see for example Edmund Doutté 1909, Magie & Religion de l’ Afrique du Nord, p. 62 for an example from Algeria.

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

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Quick guide: how do amulet cases open?

by dr. Sigrid van Roode | Magic & Amulets

Islamic amulet containers

Quick guide: how do amulet cases open?

Published Feb 05, 2024

Amulet cases look straightforward at first glance – until you try to open one. Across North Africa and Southwest Asia, silver containers called hirz were made to hold folded texts or small protective items, and their opening mechanisms can be surprisingly diverse. Some use a slider lid, others a hinged cap, and a few hide the opening in the decoration. In this post, part of my series on amulets in jewellery, I’ll walk you through the most common constructions, what the exterior hardware can tell you, and why – sometimes – the most responsible choice is not to open an amulet case at all.

How amulet cases open

Before you dive in: this article shows the three main types of silver amulet cases and their historic development. It may be useful to scroll through this one again to refresh your memory. So, let’s see how these open!

Amulet case type 1: how to open tubular amulet cases

These invariably open on the side. One of the caps at the end functions as the lid. This is clearly visible with the Yemeni container shown above (click to enlarge the photos).

Often, you may find the opening cap integrated into the chainwork, as shown above with the Egyptian cases, or sporting a suspension loop of its own as in the container from Iran.

This is an extra failsafe in case the container opens: the cap would still be attached to the chain.

Amulet case type 2: how to open slim rectangular, square and triangular amulet cases

These may open in two different ways: using a sliding mechanism on one of the sides or its top, or by removing the cap on either side.

The triangular case from Egypt, shown above, has a sliding lid that opens by pulling the upper suspension loop (the one on top)

Amulet case type 3: how to open larger amulet boxes

These usually have a lid that can be removed, much like a locket. The hinge often doubles as suspension loop.

A stunning silver and coral necklace from Yemen.

Closed amulet cases: containers that cannot be opened

Not all amulet containers can be opened. That may be because the cap or lid has been welded shut, and I would advise to leave it that way. We’re not supposed to see what’s inside.

But a much more common reason is that many of the designs were created without an opening in the first place. That is for example the case with the jewellery shown above. All of these carry amulet cases in one form or another, and none of these can be opened. The Tunisian pendant is even designed as a bead in the shape of a cylindrical amulet case: the chain runs right through it.

Their shape associates them with their presumed contents: it’s not so much ‘form follows function’, but rather ‘form takes over function’.

How to spot if and where an amulet container opens

Observe the construction of your amulet container very closely. Look for seams, edges or lines that suggest a point of separation. This can be a thin line around the edges that the other end does not have, or a small gap. If the amulet is firmly closed, this may be nearly impossible to spot.

Sliding mechanisms usually have either small ridges or grooves, or tiny protrusions (and that could be the suspension loop from which the pendant itself hangs). Both serve to facilitate the sliding.

Hinges are usually visible: here as well, look for any seams or gaps that may indicate the lid is openable.

Should you open amulet containers….?

If you decide to inspect your amulet containers for opening mechanisms, I’d advise to do so very carefully. Avoid the use of excessive force to pry them open, as vintage to antique objects damage easily. If the lid is jammed, welded shut or stuck otherwise, leave it be.

I’d also advise to consider the reasons for opening an amulet container. When you’re studying its contents, it may contribute a great deal to our understanding of the culture the wearer comes from. But afterwards, perhaps it would be best to put its contents back inside.

Its contents were not meant to be seen by anyone but the wearer, so from that point of view, it would be a sign of respect not to open them, or at least to keep their contents private. Whatever is inside, it once made someone feel secure and safe – a feeling we can easily honour.

Conclusion: function before ornament

Understanding how an amulet case opens starts with recognising its function. The lid, loops, and cord channels were designed to protect contents that mattered—texts, blessings, and personal safeguards. For collectors and curators, that means reading the object before handling it: identify the mechanism, note weaknesses, and consider the ethical and conservation implications. In many cases, the amulet’s meaning is preserved best by leaving it closed. These are objects of belief first and ornament second, and their construction tells that story clearly.

Frequently Asked Questions about amulet cases

Why do some amulet cases refuse to open?
Many were closed tightly to protect the contents. Old repairs, corrosion, or grit in slider grooves can also jam the mechanism.

What types of openings do amulet cases use?
The most common are slider lids (a sleeve pushed along a track), hinged caps with tiny pins, and end caps that twist or pull.

How can I tell where the opening is?
Look for joins in the metal, a slightly raised track for sliders, or a small pin at one end for hinges. Cord channels are not openings.

Is it safe to open an amulet case?
Often no. Contents can be fragile paper or organic material; forcing a mechanism risks damage. When in doubt, consult a conservator.

What might be inside an amulet case?
Folded or rolled text (prayer, verse, numbers), tiny written charms, or occasionally small inclusions like threads or beads.

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What is inside amulet cases and how were they used? Find out in the e-course on amulets & charms!

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The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Khamsa in jewellery: history, symbolism, and the Hand of Fatima

by dr. Sigrid van Roode | Magic & Amulets

Hand of Fatima

Khamsa in jewellery: history and symbolism

Published Jan 26, 2024

The khamsa is one of the most recognisable symbols in jewellery. Also known as the hamsa or Hand of Fatima, it is found from Morocco to Iran and beyond. Both as a hand and as the number five, the khamsa has been used for thousands of years to bless, protect, and ward off evil. In this post, part of my series on amulets in jewellery, we’ll look at its origins, its meanings, and how the symbol continues to live on in traditional and modern jewellery.

Khamsa or hamsa? Spelling and origins

First things first: how is it spelled? There are a myriad ways of spelling khamsa: khamsa, hamsa, chamsa, khoms, khoumsa, khmissa, hamesh…all of these are a rendering of words from another language, written in another script.

The word is known in both Arabic and Hebrew, and its spelling varies with each European language trying to come close to the pronunciation of the word in those languages. So if you’re looking for information online: try a few different spellings! (and here’s a post to help you do just that)

The khamsa symbol: both hand, and the number five

The key to understanding the khamsa symbol is to realise that it is actually two things: the power of the number 5, and the symbol of the hand. Both have become so closely related, they are inseparable. [1]

Khamsa means ‘five’ in Arabic. That is an auspicious number for both Islam and Judaism. In Islam, it refers to the five daily prayers and the five pillars of faith. In Judaism, the abbreviation of the name of God is heh, and the letter heh has the numerical value of five. [2] It is also associated with the five books of Moses. [3]

And as a hand has five fingers, you see how it makes sense to express the value of ‘five’ with an image of the hand. That is where the khamsa hands, that you see everywhere in jewellery, dress, and decorations come from. It’s also how it became known as Hand of Fatima, Main de Fatma, Hand of Maryam, Hand of Mary and other variations. But the hand as an amulet itself is a very old symbol, too.

How old is the khamsa symbol? Ancient roots in Mesopotamia and Egypt

Hands are amongst the oldest forms in the world: thousands of years ago, people already intentionally left handprints in rock shelters. These were a form of presence ‘we were here’, but we also find hands as protective symbols. The hand has remained a powerful symbol ever since.

In ancient Mesopotamia, the Hand of Ishtar was believed to keep evil away from your door. And interestingly, there is a connection between the goddess Ishtar, the number five (again!) and the five-pointed star: the number five also is associated with ancient astronomy. [4] See here how that has left its mark on ethnic jewellery millennia later!

In the gallery above you’ll see a small amulet in the shape of hand, dating from ancient Egypt.

Hands as symbols have been found in Iran, Saudi Arabia and Tunisia. They are often associated with goddesses, like Ishtar, but also Tanit. In the main monotheistic religions, hand amulets are called Hand of Fatima, Hand of Maryam or Hand of Mary.

But: not all khamsas take the shape of hands!

A foulet khamsa from Morocco, with a bright green glass cabochon.

Khamsas beyond the hand: khomissar and foulet khamsa

As I wrote above, the khamsa is not only the hand. It is also a rendering of the number five. And as such, it does not always have to appear in the shape of a hand – a visual expression of the number five can take many forms.

The Tuareg khomissar is an amulet that is a khamsa (you will note the same root in its name), but it does not look like a hand. This amulet is called ‘five’ because of its design: in the gallery above you’ll see how it is constructed of five pieces of shell, mounted on leather.

And one of my favourite shapes of a khamsa is the Foulet Khamsa: I like this one so much that I gave it its very own blog post – with an exploration into its name!

Three silver hair ornaments for children from Oman

Khamassiyat forehead ornament, worn in the Jordan Valley and Bethlehem area.

Khamsas in traditional ethnic jewellery

All of these powers translate into jewellery really well. [5] You will find pendants in the shape of a hand from Morocco to Iran: a few are included in the gallery above. As you see, they most often feature as parts of another jewel. You will find dangles in the shape of hands, hands are engraved on pieces of jewellery, they are embroidered onto textiles…

That can be in stylized forms, like the pendants on the Omani hair clip or the Yemeni pendant shown below. And sometimes, that is to the point where it becomes really hard to tell if we’re looking at a stylized hand, a triangle or a stylized human shape…and that is the beauty of it, because in the end, this is where forms in jewellery can all of the above, depending on who you ask.

The hand is a beautiful shape to combine with other motifs that add to its meaning: the colours red and blue, the appearance of fish, the star and crescent, lizards, magical texts and more – there is an entire episode dedicated to hand and eye amulets in the e-course on Amulets & Magic in Jewellery.

Apart from the symbol of the hand, there are other ways to include the power of five in jewellery. The number is worked into patterns and designs in an intricate manner: see how to read numerology in jewellery here.

Khamsas in modern jewellery and popular culture

Today, khamsa hands are used in necklaces, rings, bracelets, and are often combined with evil eye jewellery. You’ll see them much more often as stand-alone pieces of adornment: a pendant, earrings, rings focusing exclusively on the symbol of the hand, instead of adding it as one of the motifs on jewellery and dress.

They are also abundantly used for other objects such as car amulets, keychains, or home decoration, and you’ll find them printed on textiles, embossed on leather bags, you name it. Modern khamsa art can be found everywhere, and is both popular with artists who are inspired by this ancient symbol to honour their cultural heritage as well as with tourists.

The meaning of the Khamsa: protection and blessing

The khamsa, whether as a hand or as the number five, has travelled through millennia while carrying the same essential meaning: protection, blessing, and hope. From ancient Mesopotamian hand symbols to modern pendants and keychains, it shows the extraordinary persistence of human belief expressed through jewellery. That continuity is what makes the khamsa so powerful — whether it is used as an amulet or just worn as an accessory, the shape of the hand itself connects us to thousands of years of human expression of hope and fear, and I love how a form that old still carries meaning today!⁠

Frequently Asked Questions about the khamsa symbol

What does the khamsa symbolise?
The khamsa represents protection and blessing, linked to the number five and the shape of the hand.

Why is the khamsa also called Hand of Fatima or Hand of Maryam?
These names reflect its adoption in Islamic and Jewish traditions: it carries meaning in both religions.

Are all khamsas shaped like hands?
No, some represent the number five in abstract forms, such as the Tuareg khomissar or the Moroccan Foulet Khamsa.

IS the khamsa still used today?
Yes, it appears in modern jewellery, home decoration, and art, often combined with other protective motifs like the evil eye.

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Want to learn how to read the protective powers in jewellery? This e-course rounds it all up for you.

More posts on jewellery and amulets? Browse them all here!

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References

[1] Paul Eudel notes in 1909 in his Dictionnaire des Bijoux, p. 95, that ‘the word which means five is also employed for the design of a jewel in the shape of an open hand’.

[2] F. Vukosavovic 2010, Angels and Demons. Jewish magic throughout the ages, p. 108.

[3] Eva-Maria von Kemnitz 2023, Hand of Fatima, Brill Publishers, p. 10.

[4] Eva-Maria von Kemnitz 2023, Hand of Fatima, Brill Publishers, p. 10.

[5] E. Doutté 1909, Magie et religion dans ‘l Afrique du Nord, p. 326-227 describes the wearing of silver and gold khamsas in jewellery in Morocco; Zwemer 1920, The Influence of Animism on Islam, p. 85 describes the same for Egypt.

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The Bedouin Silver Jewellery Blog: Sigrid van Roode

Islamic amulet cases

by dr. Sigrid van Roode | Magic & Amulets

History of amulet containers

Types of Islamic amulet cases

Published Jan 1, 2024

What is the origin of Islamic amulet cases? Often called hirz, higab or taweez they come in various shapes and forms, and those forms tell us more about their history. These cases hold (Islamic) talismans, and the nature of this talisman is hinted at by the shape of the container. Because ‘form follows function’ is not just a designer’s oneliner: looking at the shape of an amulet container is very revealing of its historic origins and its setting.

This post brings you up to speed with the 3 elementary shapes of amulet cases – it takes less than 3 minutes!

Amulet case type 1: Tubular amulet cases

These go way back! Evidence backing up the use of amulet cases in the shape of a tube already stems from ancient Egypt, as the example above shows (click the image to enlarge it). In Iraq, an alabaster jar excavated near Baghdad contained ten amulet cases. [1] The shape of all these containers is revealing of two things: their long-gone contents, and the incredible time span they have been in use.

Tubular amulet cases are designed to hold scrolls. You’ll see some examples of Islamic amulets for protection above (click to enlarge the photos). These you would roll up and insert them into the amulet case.

This is a practice that stems from the times that writing was done mainly on papyrus sheets. These can’t be folded very well (although it happened occasionally, but it was never considered a huge success), so they were usually rolled into scrolls. Large scrolls would contain complete books, and tiny scrolls could accommodate just a few words. Like spells, or religious texts.

The scroll as the essential form of a written amulet is so old, that once paper was invented, the practice of writing, and even printing, the use of talismanic scrolls continued. [2] Never change a winning form, right?

Amulet case type 2: Slim rectangular, square and triangular amulet cases

When writing materials changed, a new shape of amulet cases popped up. Unlike papyrus, paper can easily be folded, and tucked into a rectangular or square amulet case. In the Mediterranean, this form of amulet case started to develop in the early Middle Ages.

These can contain more than just a sheet of paper: they may hold complete books. When books began to be designed in the form we know today (a bunch of pages held together by a spine and two covers), they could also be created in miniature form.

A special style of Islamic case is the Qur’an holder, which contains a complete version of the Qur’an.

Triangular amulet cases were created even later. These may also hold written texts or prayers, but here their form is important, too: it refers to the number 3. Click here for the surprising ways numerology is present in jewellery!

Amulet case type 3: Larger amulet boxes

An entirely different form is that of the amulet box. Here, the amulet case is shaped like a box. Its opening is significantly larger than that of a regular, slim amulet container: these often have an actual lid instead of a narrow, letterbox-like slot. The amulet box also has more space inside.

This design is also very old. Above you’ll see some examples: a gold amulet box called bulla, and a gold necklace holding such an amulet box. Click on the images to enlarge them and to see the accompanying captions.

Originally, box-like amulet cases are not designed to hold texts, but things. Their origins lie in the use of amulet pouches. Based on the advice of a healer or ritual practitioner, the boxes would hold magical materials that were believed to be helpful.

Later on, they were also used to hold folded pieces of paper, custom-made miniature books, and fragrance. Today, they may hold a variety of things, from very personal mementoes to texts, fragrances, prayers and more.

Bedouin Silver | Selection of islamic amulet cases

Islamic amulet cases: rooted in a long history

All of these forms are still used in Islamic amulet cases of North Africa and the Middle East. Above are some examples from Tunisia, Syria, Oman, Yemen, Egypt and Iraq. And of course, these basic shapes are not limited to the Islamic world: protecting oneself is one of the oldest human traditions, and as such similar shapes are found worldwide. Looking at the shape of a jewel may tell you a lot about its historic origin and uses!

…and in case you’re wondering how amulet cases actually open: Read this quick guide next!

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What is inside amulet cases and how were they used? Find out in the e-course on amulets & charms!

More posts on amulets? Browse them all here!

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References

[1] Read more about this find here with the Metropolitan Museum of Art

[2] See for block printed talismanic scrolls K. Schaefer 2022, The material nature of block printed amulets: what makes them amulets?

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Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

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