The Ottoman-style kirdan in the Middle East

The Ottoman-style kirdan in the Middle East

by | Objects

Ottoman jewellery

The Ottoman-style kirdan necklace of the Middle East

Published July 24, 2025

The Ottoman Empire stretched over large parts of North Africa and Southwest Asia. This centuries-long colonisation resulted in jewellery forms that are found all over the region. In this blog, I’ll show you a particular piece that is found with variations throughout the Ottoman world: a choker-like necklace.

What is a kirdan necklace?

The kirdan necklace is a choker-style jewel that forms part of the Ottoman jewellery repertoire. The original ornament is of a type widely used in the 19th century. With regional variations, it was worn from Tunisia to Turkey as well as beyond, on Cyprus, in Greece, and in the Balkans. In the cities, wealthy urban ladies would wear theirs in gold; rural ladies would resort to gilt silver or simply silver, depending on the fashion and traditions of their region.

The ornament consists of a choker-like band of repoussé segments. These may be fastened on to a fabric band, which is tied around the neck or closed with a loop-and-knot, or strung together to form an interlinking band itself. Usually, from the choker multiple pendants are dangling, and it is in the variations and differences of these that we may see regional preferences.

Regional variations of the kirdan

This ornament is generally called kirdan, but goes by many names. Let’s look at some regional variations next!

A postcard from Tunisia, showing a woman in traditional dress and jewellery. She is wearing the chiriyya necklace and pennanular brooches.

The chiriyya in Tunisia and Libya

In North African jewellery traditions, notably in Tunisia and Libya, this ornament went by chiriyya (also spelled chairiyya). In Tunisia, they are worn notably in the southeast, from the town of Sfax onwards. [1] In Libya, they were mainly produced in Tripoli, by artisans who catered to the east coast of Tunisia as well as to Libyan towns and tribes as well. [2]

The choker had a yellow fabric backing, on which the individual segments were sewn. In the centre of the band a square ornament featured. From the choker, large pendants were suspended, and in the centre one or multiple crescent-shaped pendants, executed in filigree, fell onto the chest.

The chiriyya notably does not carry coins, and does not have a central element on the band itself, which sports only the repoussé segments.

Detail of the central part of an Egyptian kirdan on the Bedouin Silver website. This image is part of a research article on the Ottoman-style kirdan in the Middle East.

The kirdan in Egypt: kirdan or kirdan hilali

In Egypt, the necklace is known as kirdan (also spelled kerdan) or kirdan hilali. Here, the segments flank a central element sewn on the band, usually a rectangular or square piece. In the centre, a central pendant falls on the chest: usually, a crescent or a set of tiered crescents, which is where it gets its name from: kirdan hilali means kirdan with crescents. They may be set with small turquoise beads, and the segments themselves are threaded through with red thread. Egypt also uses coins on the kirdan pendants.

The first photo shows a painting of a woman wearing such a necklace: more on her and her jewellery is in this blog!

Coastal Southwest Asia: the kirdan in the Levant

Palestine, western Jordan, Lebanon and western Syria all form part of the Bilad as-Sham, and share a cultural continuum that predates modern borders. Regional variations may extend beyond current borders, and in general trying to delineate exact attributions here is difficult. [3]

The kirdan was worn by both city-, village- and Bedouin women. Finer pieces in gold would be worn by urban women. Compared to North African variations, the coastal Southwest Asian variation generally have more and larger segments – and we also find innovative forms for women who could not afford as many silver or gold segments. They would add beads between the segments, so the kirdan required less precious metal. An example of such a simpler kirdan is shown below.

The kirdan of coastal Southwest Asia uses coins, and has a large variation in forms for the central element on the band.

The kirdan in Syria

For current-day Syria, Kalter notes that the individual segments for the band were purchased directly from silversmiths in Aleppo and Damascus by women themselves, who would then sew them on to a fabric band of their choosing. [4] Below the neck band, a row of coins or imitation coins jingles, and in the centre a single pendant such as crescent or inscribed amulet may hang. The central part of the band could also include a filigree square or rectangle, such as the example above shows, or a colourful red and blue ornament.

The kirdan in Jordan

In El-Kerak, the necklace was called kirdan migwiz. [5] In between the repoussé segments on the band, one or three filigree boxes were present in the central part of the band. Below the band, long silver elements with coins were suspended, and at the front, again one or three elaborate crescent pendants could hang.

The kirdan in Palestine

In Palestine, the necklace went by kirdan. They were made in several places, such as Nablus, but also in Irbid and el-Kerak but worn in Palestine [6] – again, the borders of today have little bearing on the past and the cultural reality is much more varied. In Nablus, the coin pendants are shorter than in El-Kerak. In the centre, an ornament of small tiered crescents fell on the chest. [7] In the Galilee, the coin pendants were similarly short, but the ornament itself also featured very long silver chains with multiple triangular pendants. In the centre of the ornament, the silver chains connected multiple crescent pendants. The style of the pendants is widespread in a larger region, including Syria.

The kirdan in Eastern Southwest Asia

Eastern Jordan and Syria, bordering on Iraq, were a bit more distant from the Ottoman world – the Ottoman sphere of influence mainly concentrated around the Mediterranean littoral. But we see cultural influences nonetheless, where Ottoman forms travelled on trade routes and gradually developed into styles of their own. In Kurdistan the choker was still worn, and the dangles often take the shape of fish – a form also encountered further on in Afghanistan.

Black and white photo of Egyptian dancer Taheyya Carioca with a a gold-coloured kirdan necklace on her hip.

Stage forms of the kirdan

One particular use of the kirdan is in an exaggerated version as stage jewellery. This was worn by dancers, mainly in Egypt. From the mid-19th century onwards, we see the kirdan in its usual size worn by dancers. The image above shows a phot of such a dancer (click to enlarge it). Around the turn of the century, the hilal pendants started to get larger, and from the 1950s onwards, entertainers would be wearing huge kirdans – of course, its sight really adds to the performance! [8]

A bracelet made of a repurposed kirdan necklace.

Repurposing of the kirdan

Because they fell out of fashion at some point, you may come across repurposed kirdans. They have often been divided up into bracelets.

The legacy of Ottoman kirdan chokers: forgotten heritage

The general Ottoman origin of this piece appears to be increasingly forgotten, and the reality of cultural interaction is hindered by thinking in today’s borders.

It is virtually impossible to distinguish between Tunisian and Libyan chiriyya, because the craftsmen that made them operated in both countries and pieces made in one country would be sold on a market in the other.

Likewise, trying to determine whether a piece is Syrian or Jordanian does not make much sense, as most likely, it was produced before either country as we know it today existed. Rather, it would be better to see if a place of production could be determined, in the full knowledge that from there, it may have been traded to at least 4 different countries as they exist today.

These pieces of jewellery remind us of a shared heritage. That is the historical jewellery value they continue to carry, and I do love how they took on a new life and new meanings on their own in the various parts of the Ottoman realm!

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References

[1] S. Gargouri-Sethom 1986. Le Bijou Traditionnel en Tunisie, p. 24, with examples.

[2] S. Gargouri-Sethom 1986. Le Bijou Traditionnel en Tunisie, p. 65; Ghellali, H. 2024. Jewellery and Adornment of Libya. Blikveld Uitgevers Publishers, Zandvoort

[3] J. Kalter, M. Pavaloi & M. Zerrnickel (eds) 1992. The Arts and Crafts of Syria, p. 81 already notes this.

[4] J. Kalter, M. Pavaloi & M. Zerrnickel (eds) 1992. The Arts and Crafts of Syria, p. 90, with examples.

[5] Pracht und Geheimnis, p. 388-389.

[6] J. Rahab 1989. Palestinian Costume, p. 121.

[7] Pracht und Geheimnis, p. 265.

[8] See this reel by Heather D. Ward on the kirdan in dance costumes

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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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.

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Amazigh fibulas of North Africa

Amazigh fibulas of North Africa

by | Objects

Dress and jewellery

Amazigh fibulas of North Africa: jewellery and identity

Published June 24, 2025

It’s the most iconic piece of Amazigh jewellery in North Africa: the fibula or clothing fastener. From the Atlantic coast of Morocco to the oases of Libya, Amazigh fibulas are both functional and highly symbolic. What is more, they reflect regional identities, social structures, and even showcase connections between landscape, dress, and daily life. So, let’s have a look at these beautiful objects of adornment!

What are Amazigh fibulas? Use, names & regional styles

What are Amazigh fibulas used for? Fibulas basically serve as fasteners. You’ll find them used on a variety of garments, including outer wraps, shawls, and head coverings. Their forms vary by region and community, ranging from simple functional items to more elaborately worked items that may also carry symbolic meaning.

While you may find them repurposed into pendants, that is not how they were used originally: they really are pins!

That capacity of joining two things together is also why there is also a lot of informal ritual involving fibulas: see more about that here!

A silver and enamel fibula from the Tiznit region, Morocco
A selection of beautiful silver fibulas from the Maghreb, against a brilliant blue background.

What is the correct term for Amazigh fibulas?

The term fibula is obviously not local; it comes from Latin, where it referred broadly to a clasp or brooch used to fasten clothing. The use of garment pins dates back much earlier, though – examples made from metal and bone have been found in Bronze Age contexts across Europe, the Mediterranean, and North Africa.

The specific form most common in North Africa today, the rotating ring-and-pin mechanism, is associated with Roman innovations in clothing fasteners. These Roman-era brooches, widely distributed across the empire, introduced a functional design that remained in use and was adapted across different cultures over time.

While fibula is the standard term used in archaeological and art historical literature, the objects themselves are known by a range of local names in Amazigh communities. In Morocco, they are referred to as tizerzai or tisernas; in Algeria, terms such as adwir or tabzimt are used; and in Tunisia and Libya, they are commonly known as khlel. These vernacular terms reflect linguistic diversity, but also a regional variation in design and use.

Anatomy of a fibula: ring, pin, head, and variation

The most common type of fibula found in North Africa is based on the penannular brooch design. That is a ring that is incomplete or open at one point. A typical fibula consists of three main components:

1. The head: a terminal or decorative element at the end of the pin;

2. The ring: a circular or penannular ring;

3. The pin itself.

These elements are visible in the illustration above.

The large crescent-shaped fibulas of Libya and Tunisia follow the same design, but have no head: in these types, the ring is aggrandized to the point where it also becomes the eye-catcher.

How do you actually fasten a fibula…?

That’s a question I get asked a lot – so, here is how! To fasten a garment, the pin is pushed through two the layers of fabric that you’ll want to secure together. Push the pin through and bring it back to the front by perforating the fabrics again: by pushing it through and through, you’ll end up with the head of the pin and its lower half visible on the outside of your garment. Once in place, rotate the ring so that the pin lies across the gap in the ring. Push the pin through the gap, and twist the ring so the opening moves away from the pin itself. The tension between the ring and the fabric holds the pin securely, preventing it from slipping out. This design allows the fibula to act as both a clasp and a visual feature of the garment.

Here is a quick video showing you how it’s done! (click this link, and then scroll down to the bottom of the page)

Spendid silver fibula set from Algeria

Amazigh fibulas and dress

Obviously, fibulas are integrated with the textiles they secure. That in turn tells you a lot about those textiles just by looking at the pins themselves. Heavier, more substantial fibulas are used with robust fabrics, while lighter versions suggest finer or differently structured cloth.

The outer garments they secure are wraps: garments that envelop the body and shoulders. In winter, these would be heavy, wool wraps, and in summer they might be lighter fabrics.

You will notice that the heads of the fibulas are the heaviest part of the piece. That tells you where they would have been placed: not at the upper end, as you often see them in books, but at the lower end. The pins themselves stick out upwards, the head is pointed downwards. That is an important difference between theory and practice: fibulas are almost invariably depicted with their heads upwards and their pins downwards, but that is not how they would have been worn in real life!

How fibulas reflect Amazigh identity

Fibulas are part and parcel of the cultural practices of Amazigh communities. They are not simply adornments, but part of a broader visual and symbolic language that links body, clothing, architecture, and environment. And you know that is how I love to study jewellery: in its cultural context!

Because this allows us to understand how material culture communicates identity, memory, and place, rather than just admiring them as beautiful objects in a showcase.

This interconnectedness is of course very evident in recurring patterns and motifs. The same geometric forms found on fibulas frequently appear on carpets, blankets, pottery, and woodwork, suggesting a shared visual vocabulary across media.

But there is much more. Fibulas offer further insights into the world of their wearers, especially through the design of the pin head or terminal. This is the most visually prominent part of the fibula, and it often serves as a marker of regional or communal identity. Its shape and decoration vary by area, village, or group, allowing the piece to signal belonging and local affiliation.

These terminal forms often reference features from the wearer’s environment. They literally show us what that environment looked like, or what iys wearers considered important.

Some derive from animal forms, for example, the ram’s head motifs found in fibulas worn by the Ihahen of coastal Morocco, which may evoke associations with pastoral life. Others reflect built structures: domed tombs, arched doorways, or the stepped crenellations of kasbah walls.

These visual echoes suggest that fibulas do not only exist in relation to the body, or even just in relation to dress, but also participate in a wider cultural landscape – drawing meaning from the world around them and embedding that meaning into daily dress.

How fabulous is that, when your dress and jewellery fit into your surroundings…?

Amazigh fibulas today: living heritage & revival

Although Amazigh fibulas are no longer commonly worn in daily life, they still carry meaning. They are living heritage, and continue to be produced for ceremonial use, like local festivals, as well as for tourist markets. The fibula itself appears on beauty products, metalwork, and doors. It has grown into a symbol of Amazigh identity, notably in the diaspora – Amazigh fibulas of North Africa are still deeply meaningful and continue to evolve.

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References

Read more on fibulas and their cultural meaning here (not exhaustive, there is much more out there!):

Benfoughal, T. 1997. Bijoux et Bijoutiers de l’ Aurès. CNRS Editions, Paris

Cheylan, G. (ed.) 2007. Coutumes et décors de Tunisie. Ceres Éditions, Tunis

Eudel, P. 1906. Dictionnaire des Bijoux d’Afrique du Nord. Maroc, Algérie, Tunisie, Tripolitaine. Ernest Léroux, Paris

Gargouri-Sethom, S. & J. Pérez 2005. Les Bijoux de Tunisie. Dunes Editions, Tunis El Hafsia

Ghellali, H. 2024. Jewellery and Adornment of Libya. Blikveld Uitgevers Publishers, Zandvoort

Tamzali, W. 1984. Abzim. Parures et Bijoux des femmes d’Algérie. Dessain et Tolra, Entreprise algérienne de presse, Algers

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:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

Silver grooming sets from Afghanistan: everyday tools with many meanings

Silver grooming sets from Afghanistan: everyday tools with many meanings

by | Objects

Vanity and faith

Silver grooming sets from Afghanistan: everyday tools with many meanings

Published May 27, 2025

Among the many forms of Afghan silver jewellery, one of the most charming is the silver grooming set. You’ll find them every now and then for sale on the Internet, and their description usually does not extend beyond ‘Kuchi grooming set’ or ‘Kuchi earspoon’. At first sight, these small pendants might look like simple trinkets, but they combine multiple roles: they were functional tools for personal care, amulets believed to offer protection, and jewellery worn as part of dress. Exploring them reveals how everyday objects could hold layered meanings in traditional Afghan culture, so let’s have a look at these!

Silver grooming tools from Afghanistan and cultural traditions

What do these tools look like? Typically, you’ll see them as an earspoon and a toothpick suspended from a ring: that is the basic pairing of tools. More elaborate sets also carry a pair of tweezers, they may be combined with other items such as perfume containers or kohl applicators.

Their use is not limited to Afghanistan, you’ll find these tiny items in many cultures around the world. And in all those cultures, their execution and style places them in the realm of jewellery: they have been designed and produced in the same styles as the local jewellery has.

They are small and portable, practical in everyday life, but also for hosting: Janata mentions that wealthier families in Afghanistan would have a set of these in their guest chambers – how’s that for hospitality? [1] The toothpick and earspoon allowed the user to maintain personal hygiene throughout the day, and were worn by both men and women. [2] And there is more to these than just vanity. In staying clean, one was also protecting oneself from the dangers of impurity – both social and spiritual. So, how does that work?

A vintage silver earspoon from Afghanistan against a black background. The earspoon has two sets of tiny bells on either side, and is decorated with red, green and blue glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver earspoon from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.
A vintage silver grooming set from Afghanistan against a black background. The set shows an earspoon and a toothpick, both decorated with lots of tiny bells and.red, green and orange glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver grooming set from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.
A vintage silver toothpick from Afghanistan against a black background. The toothpick is decorated with red, green and blue glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver toothpick from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.

Spiritual and protective roles of Afghan silver grooming sets

You might think these are just vanity sets, aimed at keeping presentable throughout the day. But that is not all they do. In the Islamic tradition, personal hygiene is not a superficial concern. Cleanliness is repeatedly emphasized in religious texts: not only as a virtue, but as a form of protection. It’s believed that jinn are particularly attracted to filth and unclean environments. [3]

In this context, grooming is not just self-care; it’s spiritual defence. These silver tools were made for precisely that purpose: to maintain cleanliness in everyday situations as an act of faith.

But…that is also where the dilemma is.

The dilemma of beauty and the Evil Eye

Because these are pretty things, they may be dangerous. Jinn enjoy dirt, but they also love shining objects. Beauty attracts their jealousy and brings danger to humans. And these silver earspoons, tweezers, toothpicks….they shine!

In many communities across North Africa and Southwest Asia, beauty is not seen as harmless. It draws attention – and attention can bring harm. The concept of the evil eye (see much more about that in this blog article) is widespread, and believed to affect those who are particularly fortunate, healthy, or aesthetically pleasing. Shiny objects, in particular, are thought to attract jinn or malicious spirits, which are drawn to brightness.

And even worse, jinn may possess humans by entering them through the openings in the body: nose, ears, mouth…exactly those places you would be caring for with one of these tools. What if your shining, gleaming earspoon actually guides a jinn to your body?

How to reconcile these two points of view?

From grooming tools to Afghan silver jewellery and amulets

The solution is elegant and simple: they were made with built-in amuletic features. Tiny bells were attached, not just for aesthetic pleasure, but for their sound, intended to scare off harmful spirits. Beads in blue, a colour commonly associated with protective properties in the region, were also common. Red glass insets flash like a warning sign.

In this way, these grooming tools are hybrid objects. They are tools of hygiene and piety, but also talismans of protection. Their ambiguous nature reflects the balance their wearers sought to maintain: to remain clean and healthy, without drawing negative attention through their beauty.

Why Afghan silver grooming sets matter: context is everything

Silver grooming sets from Afghanistan blur the lines between the everyday and the symbolic. They were tools for hygiene, pieces of Afghan silver jewellery, and objects of faith. For the Kuchi and other Afghan communities, their value lay not only in their usefulness but also in their role as protective amulets. They are examples of how the everyday object, in traditional cultures, is rarely just ‘everyday’.

To use an earspoon or toothpick was not a private act of vanity. It has cultural and religious significance, too. It was part of being a clean, pious, and protected person. This dual role of ordinary objects is often overlooked, but once you catch a glimpse of the context they were used in, they make much more sense – and become even more meaningful!

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References

[1] Janata, A. 1981. Silberschmuck aus Afghanistan, Graz, p. 180.

[2] Idem, p. 180.

[3] See my book Silver & Frankincense on how this works, or join the course on Scents of the Middle East

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:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

Clove jewellery: fragrant necklaces in Middle Eastern & North African traditions

Clove jewellery: fragrant necklaces in Middle Eastern & North African traditions

by | Objects

The power of spices

Cloves in jewellery from North Africa & the Middle East

Updated September 19, 2025

Cloves are not only a spice that fills kitchens with fragrance — they have also found their way into jewellery. From Morocco to Palestine, cloves were strung into necklaces known as qiladet qrunful, worn as amulets, wedding jewellery, and telling of the intimacy between spouses. These clove necklaces are a beautiful example of how everyday materials can carry deep symbolic meaning in Middle Eastern and North African jewellery traditions, so let’s look at their use and history!

What are cloves used for in history and medicine?

Cloves were imported from India as early as the Middle Ages: in the 13th century, tax lists from the port of Aden, in Yemen, include clove as medicinal spices [1], and in Malaga, in Spain, the pharmacist Ibn al-Baitar included clove in his overview of medicinal plants, herbs and spices. [2]

The medicinal use of clove is often also based in its fragrance alone. An example from early 20th century Palestine says that if a child has diarrhoea, it needs to have a dough pie filled with mutton, onions, cinnamon, cloves and other herbs broken open above its face, so that the child may smell it. [3]

Cloves in jewellery across North Africa & the Middle East

Cloves were used in jewellery early, too. A string of cloves was excavated in Qaw el-Kebir, Egypt, and dates to the 5th – 7th century. [4] In the 10th century, Abbasid author al-Washsha described what elegant people in the city of Baghdad would wear.

“Their well-known way of dressing themselves in jewelry arranged as necklaces consists of wearing chokers with fermented cloves, long necklaces of camphor and ambergris, chains of interlaced pearls, necklaces from which hang notched boxes with amulets, others decorated with twisted ribbons of gold, or of silk woven into the form of a chain…” [5]

That is a ton of scent described right there! I liked the description of fragrant jewellery worn together with precious materials like gold and silver, because that is still very much the case in 19th and early 20th jewellery from North Africa and Southwest Asia. See for example the scented paste beads, beautifully strung with pearls and coral, in this article.

Cloves and Palestinian wedding traditions

I love how cloves signify the bond between women in Palestinian wedding traditions. Here, clove necklaces are part of wedding adornment. They are threaded onto necklaces by a double thread, that runs through both ends of the clove. To pierce the cloves, they had to be soaked in water first, and in some cases, it is said that the bride used this scented water on the day of her wedding.

Other traditions note that a Palestinian father would pay for these necklaces, both for his daughter and her female relatives and friends, as a sign of his appreciation for their friendship. That creates an entirely different level of expression and communication: that bond is emphasised by fragrance throughout the wedding ceremonies.

The close relation between cloves and weddings is visible in the memory of Wardeh, a Palestinian woman, who after her engagement went to buy cloves for necklaces, along with henna, indigo, tea herbs and amulet beads on the spice market. [6]

Cloves as amulets in Palestinian culture

Cloves were also believed to keep evil at a distance through their smell alone. [7] The necklaces worn on weddings were also powerful amulets against the Qarina, a spirit who harmed young children and expectant mothers. As such, they were worn after the wedding, too.

That use as amulet could also be achieved by simply wearing cloves in a pouch on the body, together with pepper and beads believed to ward off the evil eye. [8] These were amulets that wearers would create themselves, using supplies that were readily available in the market.

Clove jewellery as a sign of marriage and intimacy

The scent of clove has another capacity, too: it is believed to work as an aphrodisiac – something that inspires mutual attraction and sensuality. Unsurprisingly, you’ll find these in jewellery for married women – it protects from the Qarina and other jealous spirits, while also inspiring the love of a husband.

An example is the necklace above, which is from Morocco: here, the cloves were pierced lengthwise and threaded to form a ball. You’ll find cloves strung alongside coral, enameled elements and even gold throughout North Africa: they were an integral part of married life.

Clove jewellery: fleeting scent, enduring heritage

Clove jewellery may seem unusual today, but in the past it carried powerful layers of meaning. Whether protecting brides from spirits, marking a wedding bond, or simply delighting with its fragrance, the qiladet qrunful shows us how jewellery is never just adornment.

Even something as humble as a clove could become a cherished amulet or wedding necklace, woven into the cultural memory of Palestine and beyond. By looking closely at these fragrant jewels, we rediscover how symbolic and intimate jewellery traditions once were — and they continue to inspire today!

Frequently Asked Questions about clove jewellery

What is a qiladet qrunful?
A qiladet qrunful is a clove necklace traditionally worn in Palestine. It is often part of wedding jewellery and symbolises both protection and intimacy, as cloves were believed to repel spirits and carried a pleasant fragrance.

Why are cloves used in jewellery?
Cloves have long been valued for their strong scent and medicinal properties. In jewellery, they were used as amulets against harmful spirits, as well as symbols of love, fertility, and the bond between spouses.

Where is clove jewellery found?
Clove jewellery appears in North African and Middle Eastern traditions. Examples are recorded from Morocco, Palestine, and other parts of the region where cloves were imported as valuable spices.

Is clove jewellery still worn today?
While rare today, clove necklaces survive in museum collections and family heirlooms. They are an important reminder of how everyday materials like spices could carry deep symbolic meaning in jewellery.

What does clove jewellery symbolise in marriage?
In Palestinian tradition, clove necklaces were worn by brides as a sign of marriage and intimacy. The fragrance of the cloves was thought to protect the couple while also symbolising closeness and affection.

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References

[1] Herbal Medicine in Yemen, p. 27.

[2] Mouhajir, F. 2002. Medicinal plants used by Berber and Arab People of Morocco, PhD thesis, University of British Columbia, p. 11.

[3] British Museum, inv. no. OA.882. The string was on display in the exhibition Silk Roads in the British Museum.

[4] Granqvist, H. 1950, Child Problems Among The Arabs, p. 97

[5] Williams, E.D. 2015. Worldly Adornments: Women’s Precious Metal Jewelry in the Early Medieval Eastern Mediterranean (500-1100 CE). PhD thesis, New York University, p. 47

[6] Kawar, W.D. Threads of Identity, p. 330.

[7] Garcia Probert 2021, Exploring the Life of Amulets in Palestine, PhD-thesis Leiden University, p. 247

[7] Garcia Probert 2021, Exploring the Life of Amulets in Palestine, PhD-thesis Leiden University, p. 236

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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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.

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Deir ez-Zor as a jewellery centre

Deir ez-Zor as a jewellery centre

by | Cultures & People, Objects

Jewellery from Syria

Deir ez-Zor as a centre for jewellery

Published on December 16, 2024

You will often find bracelets attributed to Deir ez-Zor, in Syria. Who made these pieces of jewellery, and who purchased them? Just because they have been created in Deir ez-Zor, does not automatically mean they were worn only by Syrian customers – especially not in a time where state boundaries were quite different from today’s situation. In this blog, I’ll explore the silversmiths of Deir ez-Zor and their clients!

Where is Deir ez-Zor?

Deir ez-Zor, also spelled Deir ez-Zur or Deir Azzor, is a town located on the banks of the Euphrates River in eastern Syria. It sits at a cultural and economic crossroads, and has always been a trade hub. Its geographical position connects Mesopotamia, current-day Iraq and Syria, to the Levant. The map below shows where to locate Deir ez-Zor. The town was one of three major hubs for silversmithing, along with Aleppo and Damascus. [1]

Jewellery makers in Deir ez-Zor

The silversmiths of Deir ez-Zor were skilled artisans, often working within family workshops where techniques and designs were passed down through generations. Before the 1930s, most silversmiths were Jewish. [2]

That is a notable difference with Damascus and Aleppo, where the majority of the silversmiths were Christians: in Damascus Catholics and Armenians, and in Aleppo most were Armenians. [3] After the Jewish population moved to the newly created state of Israel at the end of the 1940s, silversmithing was practised by Armenians and Muslims.

The craft dwindled slowly, and by the early 1990s, Johannes Kalter reported that there were only few silversmiths left in Deir ez-Zor. [4]

Niello: Armenian craftmanship in Syria

One of the silverworking traditions that Deir ez-Zor stands out for, is the use of niello. This was most likely introduced by Armenian silversmiths [5] and increased in use after the Armenian genocide, when survivors fled to Syria. The bracelet shown above, with its worn niello decoration, was likely produced in Deir ez-Zor.

These do not necessarily have to be vintage or old: as late as the 1990s, Kalter describes how ‘only the demand from tourists keeps this ancient and sophisticated technique of the silversmiths alive’ [6] – an important distinction to bear in mind. And not only may these bracelets be less than 30 years old, they can be found in a wide area, too.

The wide reach of jewellery from Deir ez-Zor

The primary clientele for Deir ez-Zor’s silver jewellery were local women, for whom jewellery served as both ornamentation and a form of financial security. Women’s jewellery was often given as part of their dowry and could be melted down or sold in times of need.

Bedouin tribes also constituted an important market for silversmiths. Jewellery from Deir ez-Zor was not only prized locally but also traded across Syria and neighbouring regions: traders from Aleppo, Damascus, and Baghdad would acquire pieces from Deir ez-Zor to sell in their own cities.

That means that jewellery created in Deir ez-Zor can be found in a wide area: in Syria itself, but also in Turkey, Iraq, Palestine, Jordan, and Lebanon. And this is where sometimes, it gets confusing.

You will find these bracelets (and indeed other jewellery produced in Deir ez-Zor) often presented as traditional jewellery from Jordan or Iraq – and they are, but not exclusively. Here, modern state boundaries divide cultures that call a shared region home, and categorizing jewellery according to today’s map only effectively erases that shared history.

The jewellers of Deir ez-Zor catered to a pluriform world, and in recognising that, we can do their work and their world more justice!

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References for Deir ez-Zor as a centre for silver jewellery

[1] J. Kalter, M. Pavaloi & M. Zerrnickel 1992, The Arts and Crafts of Syria, Thames & Hudson, p. 76

[2] As stated here: https://craftsofsyria.uvic.ca/deir-ez-zor-silversmiths/

[3] Kalter et al, p. 77

[4] Kalter et al, p. 76, 78

[5] Kalter et al, p. 78

[6] Kalter et al, p. 78 and fig 136 on p. 136, where similar bracelets are shown as contemporary (i.e. 1990s) craftmanship.

Would you like to quote this article? Please do! Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

Coin jewellery in the Middle East

Coin jewellery in the Middle East

by | Objects

Research project

Coin jewellery in the Middle East & North Africa

Published on July 29, 2024

One of the most common sights in jewellery from North Africa and Southwest Asia is the use of coins. This is a widespread custom throughout the region, and beyond. You’ll see coins decorating headbands and face veils, dangling from chains and temple ornaments and sitting in rings, brooches and bracelets. But what is the point of coins in jewellery? Can you pay with them? I’m explaining in this article, and excited to tell you more about my new research project, too!

Coin jewellery: origin

To our eyes, any monetary value coins in jewellery may have, is annulled by their treatment to make them decorative. They may be pierced and sewn onto clothing or strung onto metal wire; they might be hammered into dish-like shapes, soldered onto diverse items of jewellery or even decorated with glass, coral or semi-precious stones. Sometimes, they are so densely covered with enameling that you’ll need to flip one over to see that underneath that is an actual coin. So, what’s up with that?

The answer goes back far in time. Coins were an indication of an established silver (or gold) content in the times before hallmarks and assay offices existed. Those were only developed during the 19th century, so during the millennia before that, coins were things whose value was directly related to their silver content.

No matter if you drilled a hole through it or folded it double, a coin would still be worth its value in the weight of its silver content: archaeological excavations have shown coins to be simply chopped into pieces, which each continued to be valid methods of payment.

Because of their guaranteed silver content, there were two coins which were appreciated much more than others: the Maria Theresia Thaler from Austria, and the columnario or pillar dollar from Spain.

Find out more on the Maria Theresia Thaler here

See why the Pillar Dollar was the first international coin here

Coins retained this importance until a gold standard was established. From that moment on, a coin represented a certain amount of gold in the state’s treasury: the basic concept of money, as we know it today. But by that time, the practice of wearing coins in jewellery had well and truly taken hold, and that is why you’ll still see modern currency jingling from necklaces and veils.

Learn to read jewellery! Four colourful images of online courses.

Coin jewellery: the one thing to be aware of

Before we dive into the fun stuff, there is one myth I’d like to bust here. With all these wonderfully dated coins in jewellery, it is tempting to date an entire piece based on the age of the coins you find in it. After all, when a coin in a necklace is from, say, 1865, surely the piece itself is that old, too? Well….no. Big no-no. This is where you need to look extra closely at the piece itself.

With coins, the thing is that there are so many of them. Thousands of them still circulate. Old coins, and by that I mean coins from the 19th or early 20th century, are still available by the strand in some cases. They have been used as pendants for example, and when the original necklace was taken apart, they were simply gathered and put to use elsewhere.

So just picture it: I could take a few of those, string them into a necklace with a variety of beads, and I’d have a necklace that is made as recently as, well, tomorrow.

A coin alone does not date a piece.

Here are 5 tips to spot if a necklace has been restrung.

And here are 5 pointers on how to tell if jewellery has been altered in general – and when that matters.

A faceveil from Palestinian/Egyptian Bedouin, showing coins.

Coin jewellery: research possibilities

And now: the fun stuff! In addition to the pillar dollar and the MTT, many local and regional coins were worked into jewellery or costume ornaments. These are usually taken from the currency of the immediate region. And this is where it gets interesting! Here are just a few examples.

On the Arab Peninsula, local coins are found alongside Indian rupees. These rupees, in turn, are not found in jewellery any further west than Egypt. In the Maghreb, coins from nearby Spain, as well as France and Italy are common (the latter two because of colonization). Here, you may find Italian Victor Emmanuel coins, and France’s gold napoleons, but those are rarely seen east of Libya.

So, you see how the variety of coins worn as jewellery indicates the larger group which the wearer was in contact with. You could literally draw a map based on coinage found in jewellery, and see how jewellery allows us to trace geopolitical and economical spheres of influence. Jewellery also illustrates the visual effect of larger political landscapes: in those countries that formed part of the Ottoman empire for example, many Ottoman coins are found alongside more regional currencies.

Occasionally, coins also bear testimony to the existence of greater trade distances. One example is a pair of Moroccan fibulas, fitted with Dutch lion dollars. Or what to think of a Saudi-Arabian coin that ended up on a Turkmen guljaka or coat button, or Moroccan earrings with wartime US pennies? Each of these has a story to tell.

Coin jewellery: historic jewellery

The research possibilities that coins in jewellery have to offer, are huge. That’s why I have initiated a new project aimed at bringing this aspect of jewellery as a historic source to life. The result will be a comprehensive overview of coins used in jewellery and personal adornment, and of course I will be sharing regular updates on the blog. Interested in learning more? Drop me a line!

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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:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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 the jewellery of the Egyptian zar-ritual. 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.