‘Seven Eyes’ amulets

‘Seven Eyes’ amulets

an enigmatic amulet

Seven Eyes/Saba Uyun

Updated Feb 11, 2025

What is that blue disc with holes from the Arab world? It exists in a wide region, also outside the Arab world, and is a common sight in Iraq, Iran, Kurdistan, Palestine, Jordan and Syria, but also in Egypt. You’ll find these blue pierced discs in jewellery, as separate pendants, and in large sizes on walls of homes. They are called saba ‘uyun, or ‘seven eyes’. But what are they? This blog article gives the most complete overview to date on these blue amulets!

Amulets against the evil eye

First, here is what we do know. Saba ‘uyun amulets are considered powerful against the evil eye. They are pinned with regular glass eye beads on children’s caps and clothing, or strung with alum to protect both children and animals.

That combination with alum is also often seen in Jordan, Syria, Palestine and Egypt, and reinforces the power of the blue disc against the evil eye: eye beads among the Bedouin of the Negev desert are often strung with alum, and the idea is that alum attracts the glance of the evil eye before it can look at the child. [1]

Older amulets of this type are made of faience. This is created from a mixture of sand, soda, lime, and water. Copper oxide is added to produce the green-blue colour, and all of this is then formed into a paste, from which beads and other amulets could be made. The amulets would then be heated, which created the brilliant blue glaze.

More recent variations of the discs however have been made of plastic, and even blue buttons have been used in jewellery as a stand-in for this amulet. See a few examples from around the end of the 19th and beginning of the 20th century in the gallery below.

What does the name ‘Seven Eyes’ mean…?

There is some confusion over its name: why are they even called saba uyun, when they don’t always have 7 holes…? That is most likely because of the importance of the number 7 and its association with the planetary spheres.

Click here to read more about numerology in jewellery.

Click here to see more about astrology in jewellery.

The origin of the Seven Eyes amulet

And then there is what we don’t know. That is quite a lot! [2] Although this amulet is widely used throughout large parts of Southwest Asia, there is surprisingly little written about it. You’ll find them depicted in many jewellery books, as they are very common elements in jewellery, but with very little to no text of their own.

Peter W. Schienerl is one of the very few who discussed them at length in his article on Roman pendants from Egypt, and he believed this amulet to be a descendant from a Roman amulet in the form of a faience disc with seven coloured dots. [3]. He called it a Lochscheibe (which is German for a disc with holes in it), and never mentioned its vernacular name.

I am working on a hypothesis that these derive from Late Period Egyptian Eye of Horus-amulets, a notion I elaborate on in my book Desert Silver and in the e-course on amulets. Other suggestions for its origin are that it stems from ancient Mesopotamia, but so far no one who told me this has been able to back this up with actual evidence (if you have real facts to share on that, I’d love to hear more! Thank you in advance!).

Seven Eyes amulets in archaeology: ancient ancestors

So far, I have traced archaeological examples of this blue amulet in the collection of Egyptian antiquities in Bonn, but these are undated [4], and in the collection of the Metropolitan Museum in New York [5].

This last one [see it here] is said to have been excavated between 1935 and 1948 in Nishapur, Iran. That would make it date back to the 8th-13th century.

But I can’t help but wonder….how certain can we be that this is actually that old? According to the description, hundreds of Iranian workers excavated at the site: could one of them perhaps have lost it?

However, another example, dating to ca 800 BCE, is in the Yale Peabody Museum, where it can be seen on the far right of this bead timeline. According to the description (which is available to read when clicking on the bead – fantastic), this is one of a group of beads that has been said to come from Zagros Mountains: ‘said to come’, so again, uncertain.

Donkey beads, Lochscheibe, Saba Uyun: what are these beads?

In fact, there is so little known about this amulet that you’ll have a hard time searching for older examples online. Looking for Lochscheibe gets you lots of German industrial sites, searching for saba ‘uyun gets you nothing, although sebaa does come back with a few results.

In the Quai Branly museum, one is labeled as ‘baby amulet’ and described as a ‘blue button’ [6] Two amulets from Jordan  in the same collection, sporting the saba ‘uyun amulets, are labeled as ‘amulet’ and described as ‘blue bead’: they were used to protect home and cribs. [7]

In Farsi they are called chasm-more [8], and they are also known as ‘donkey beads’ in English. [9]

Every collection has a different name for these, and those names can vary even within the same registration system.

So here you see why using correct names for things is so incredibly important: I am sure there is lots of information on these amulets somewhere, but because their vernacular name is not used, its history and cultural meaning have become scattered across several languages and descriptions.

That makes them pretty much untraceable, and that brings me to my other point: collecting  things is one thing, but if we fail to collect and share the information that goes with them, we’re stuck with a pile of things we can’t really place.

Modern-day Iraqi amulets

Modern-day productions in enamel, plastic and other materials can be found by searching for ‘Iraqi blue amulet’, or ‘seven eyes amulet’. It is an old, and slightly enigmatic piece of jewellery, but it is still incredibly popular!

Where can I learn more about Middle Eastern amulets?

More on amulets, charms and magic in jewellery? Download your free e-book here, read other posts, or enroll in the e-course on Magic of Jewellery!

References

[1] Abu Rabia 2005, p. 248

[2] Kriss, R. & H. Kriss-Heinrich, 1962. Volksglaube im Bereich des Islam. Band II. Amulette, Zauberformeln und Beschwörungen. Otto Harrassowitz, Wiesbaden.

[3] Schienerl, P.W. 1982. Crescent to Cross. Roman and Byzantine Glass Pendants from Egypt, in: Ornament Magazine 6 (2). This is also the explanation Alfred Janata uses in his book Schmuck in Afghanistan, p. 62. Janata includes a mention of ‘a medieval work on magic that describes a similar item, called kawkab (planet)’, but without reference.

[4] There are two on display in the Agyptisches Museum der Universität Bonn when I last visited a few years ago, but they do not have any other provenance than Egypt and are not dated.

[5] Accession number 48.101.222.119

[6] Inventory number 71.1967.100.113

[7] Inventory number 71.1967.100.5 and 71.1967.100.4

[8] A. Janata, Schmuck in Afghanistan, p. 62

[9] As explained to me by Patricia Deany in 2023

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.

Across Asia

Across Asia

the walters art museum

Across Asia and the Islamic World

At the heart of human history is interconnectivity. People, and as a result their cultures, have always been in contact, and the result of those connections are visible in material culture. The Walters Art Museum is kicking off a new series of publications focusing on their collections, and the first volume Across Asia and the Islamic World illustrates the interconnectivity on the Asian continent.

Across Asia and the Islamic World accompanies the installation of the new gallery Arts of Asia and the Islamic World. In the new gallery, visitors can experience the many cultural expressions from this vast continent in one space, and more importantly, see how they are all interrelated. That interconnectivity is also the focus of the book. As it is expressed in the foreword: ‘Movement is an intrinsic part of the life of most art objects.’ (p. 6). This simple statement is such an incredibly important notion, yet it is one that is often overlooked. We are somehow used to objects being static, in their movement but also in their identity.

The first essay in the book explores that notion in fascinating detail, using objects from the collection. On the first page of that essay, we travel along with a Qur’an made in India, moving to Istanbul a century later, and now on display in Baltimore. In each of its locations, it held significance and had a role to play. A jade chime from China, used at the court to instill heavenly harmony on earth, also reflects conquest and colonization (p. 17-18), and in a similar manner, this essay presents a variety of objects that each hold several stories. This is an essay that gets you thinking on how there is so much more to ‘a teapot from China’ if we actively start considering its biography. I appreciated in particular that the essay ends with a note on how further research continues to shed light on these complex, often tangled layers of identity and history in a single object.

The second essay explores spiritual and social movement as expressed by objects. An example is a jar with a carp swimming in a lotus pond. (Fig. 8) Nothing remarkable at first sight if you’re (like me) not a connoisseur of Chinese art, but the carp swimming upstream reflects the impossibility in Chinese society for people to move up on the social ladder: the desire to ‘make it’ is so very relatable today. This particular vase has an even deeper meaning, but instead of bringing you more spoilers here, I recommend you read this book yourself! The essay continues to compare and analyze objects associated with spiritual movement: in a person, through meditation and prayer, but also in the visible act of processions and pilgrimage.

The third and last essay delves into movement across the continent: of people, goods and ideas. I really enjoyed the introduction to this chapter, presenting a Chinese statue of a camel (Fig. 18): the most important animal in caravans, but originally an ‘import’ to China itself. Portable objects, like jewellery or personal amulets, show the length and width of traveling ideas: a Buddhist locket in Japan, a tiny Qur’an from sub-Sahara Africa. Paper, a Chinese invention, was used for fans but also changed the world of book production forever, and I loved how the essay ends with a copy the famous Book of Navigation by Piri Reis. This 17th century map ties the entire book together: expansion and imperialism, travel and exploration, techniques and trade, forms and ideas permeate the history of Asia and the Islamic world in a continuous perpetuum mobile.

This may be a small book with its 64 pages, but it covers so much ground. The map on pages 8 and 9 allows you to take in the scale of the geographical region presented in the book. The many photographs are beautiful and a joy to see. And what these photos and essays leave you with is a new understanding of looking at historic objects: as material output of cultures continuously on the move. That is of course not a groundbreaking new insight itself, but the way this book has made it its central theme results in a presentation of the collection highlighting its cultural and historic interrelatedness, instead of segmenting it according to contemporary countries and their respective histories. I’m looking forward to the future publications in this series!

Across Asia and the Islamic World. Edited by Adriana Proser, 2023.

Full colour, 64 pages, in English. Published by GILES in association with The Walters Art Museum, Baltimore

The book was received as review copy from the publisher.

More book recommendations on personal adornment and archaeology…? Click here to see my other picks for you!

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Emirati Adornment

Emirati Adornment

lest we forget

Emirati Adornment: Tangible & Intangible

What happens when material culture, documenting and archiving meets art, storytelling and design? A wonderful project that showcases personal adornment from all angles, through exhibitions, short films, and a book: Emirati Adornment – Tangible & Intangible.

The Lest We Forget-project is an initiative of the Sheikha Salama Foundation in Abu Dhabi. The aim of the project in the widest sense is to document Emirati history and identity through objects, but even more so through the stories and memories attached to these. The exhibition curated in 2016 featured personal adornment as its central element, and the book Emirati Adornment – Tangible & Intangible shows how personal adornment is closely interwoven with memory, feelings and personal histories.

The book is divided into two sections: tangible and intangible adornment. Both sections revolve around personal memories, collected through many interviews. That is also how the selection of objects in this book came to be: it is a cross-section through objects of everyday use that the community itself put forward. The interviews reflect the values attached to these objects, and as such the book presents a bottom-up curated selection of living heritage.

First, the section on tangible adornment shows 34 individual objects with their stories. Here, we find items of jewellery and dress, but also a pair of tailoring scissors wielded by a grandfather who created a garment for Sheikh Zayed, or popsicle sticks that remind the interviewee of how her grandmother used to reinforce her burqa with these. The second section zooms in on 26 objects and artworks associated with intangible adornment. Here, we find topics such as henna, perfumes and incense, but also strength and grace, a tree, or the swaying movement of hair in a dance. Throughout the book, all of these objects and memories are presented based on personal histories, showing how much personal adornment is part of everyday life.

This approach to personal adornment, through collective memory and storytelling, results in a different selection of objects than a narrower focus on only objects of adornment would. Through the many personal anecdotes and memories shared, the world of adornment expands into that of sewing machines and popsicles, of pearl powder and wedding gun shots, of tooth polish and perfume. These objects are shown in this beautifully designed volume as photos, but also as artworks, collages, and drawings. Each object is presented with not just an image and its accompanying text, but features an opaque sheet in between the two with an additional layer: a drawing, a quote… Together, they show how images and memories overlap. Where the photographs of objects are by their nature static, the drawings on the overlays often show movement: a hand holding a kohl stick, a branch swaying in the wind, a dancer moving on an invisible rhythm. The insertion of the overlay also steers how we experience the story: first, we read the memories and personal history of the interviewee, then we see the drawing on the overlay, and only after turning that page do we see the object. As such, the design of the book makes the personal experience the central element, instead of reducing it to a mere explanation that goes with an object. A great example of how design actively influences our looking at things.

I absolutely loved this approach to personal adornment as part of everyday life and of the collective memory. The short stories introduce the reader into the intimacy of the family circle: we learn of grandmothers and grandfathers, mothers, fathers and siblings through their preferences for this or that use of personal adornment. The stories in this book present a wealth of information on not only objects, but their place in society and the values that that society attaches to them.

The volume is an artwork in itself by its wonderful design, and a treasure for anyone wanting to learn more about Emirati life and the power of adornment. If you want to understand how objects, people and memories interact, this is an important book that will have you dwell in its pages for hours!

Emirati Adornment. Tangible/Intangible, edited by Dr. Michele Bambling, 2017.

281 pp, full-colour, in Arabic and English. Available with Dukkan421

The book was a much-loved gift by Marie-Claire Bakker, who contributed to the volume

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Imaginarium

Imaginarium

dreaming our futures out of our past

Making the Postcard Women’s Imaginarium

That personal adornment is heritage, will come as no surprise if you have been following this blog for a while. But what does that heritage mean to the communities that it belongs to, that produced it, that lived with it? The publication Making the Postcard Women’s Imaginarium. Dreaming our futures out of our past is a brilliant volume that questions, reverses, challenges and above all, deeply loves. It accompanied the exhibition held in London in the autumn of 2022, curated by Salma Ahmad Caller, which showed a variety of artists’ responses to the way in which their communities have been represented in the West.

 

First off, what is an Imaginarium? The explanation on the back cover reads: ‘A place devoted to the imagination. An imaginarium is richly coloured by those who are doing the imagining.’ So, is all of this imagined? Yes and no. The heart of this project is formed by the many colonial postcards that have been produced of women in North Africa and Southwest Asia. These are images of women as Western photographers imagined them to be, part of an imaginary ‘Orient’ that mainly existed as counterpart to the West. But these women, however much they have been made to pose and dress (or undress) in a certain way, were real. They were someone’s mother, sister or daughter. Who were they? What did they want, believe, hope? The project centers around these women from three angles: throwing light, casting doubt, telling tales.

The Imaginarium-book is edited by Salma Ahmad Caller, who is also the curator of the exhibition and the creator of the project. She has worked with artists, researchers, writers, scholars and consultants, who each have their own relation to the postcard women, the past and the cultures that they come from. How we look at these images is shaped by our own lives, histories and cultural context, and so this book contains a caleidoscopic ensemble of personal interpretations and views. I will share a few of these next.

The essay and art by Hala Ghellali, Colonial Postcards from Libya. Reclaiming the songs of our heritage, is a very personal account of how research into postcards turned into a way of honouring and reclaiming heritage, and personal adornment in particular. She reconnects the silver jewellery items to their world of poetry, songs, experiences among women and shares with us how she feels about these postcards and how her art interacts with both these images, her personal experiences and her heritage. Hala has a book coming out on Libyan silver jewellery soon, and having read this powerful essay, I can only be grateful she will be sharing more of her research with us.

Ariella Aisha Azoulay contributes an essay in the form of a letter to one of the postcard women: a personal, intimate account of her own life and experiences blend in with imagined aspects of the life of the addressee, Mme Cohen. Enaya Hammad Othman writes about the representation of Palestinian women both by colonizers and nationalists: her observation that after a century of representation, women themselves are increasingly expanding their control over the meanings of cultural clothing (p. 100) reminded me of the work of Wafa Ghnaim of Tatreez and Tea. Alia Derouiche Cherif places the well-known photographs of Tunisian women by Lehnert & Landrock in a new context by juxtaposing it with the experiences of a descendant of the Ouled Nail in today’s Tunisia (p. 92). Afsoon, in her essay Somewhere between here and home, reflects on how these women have never consented to their image being shared so widely as they are now. In her art, she ‘nests’ them in things they might find familiar, such as jewellery, henna, beads, patterns and colours, in order to bring a little of ‘home’ to them. (p.33)

Reading this book has introduced me to many realities that exist besides the images that we are so used to seeing because they are shared over and over again. It caused me to question the realities that I am familiar with, and urged me to keep trying and imagine these in another light. The book addresses the effects and the pain of colonialism, racism and oppression, but what you will notice in every page, every artwork, every word, is love. This book and this project have created a space where the postcard women finally can feel safe and protected, where they are surrounded by gazes not looking for what might be gained from them, but what can be done for them: cover them, shield them, enhance them, adorn them.

If you want to start grasping how personal appearance matters personally, culturally, socially, historically, artistically, and how it is most definitely relevant for our world today, I highly recommend you to peruse this book: not just to read, but to take in the many layers of meaning in the artworks presented as well. A beautifully designed book that will get you thinking, questioning, and hoping.

Making the Postcard Women’s Imaginarium. Dreaming our Futures out of our Past. Curated and edited by Salma Ahmad Caller, 2022.

Full colour, 118 pages, in English. Published by Peculiarity Press

The book was a much loved gift from Salma Ahmad Caller.

More books on the importance of jewellery as carrier of identity and as a historic source? See my picks for you here! To get regular updates when a new book is presented, why not join the Jewellery List and have them sent to you…?

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Amber

Amber

From Antiquity to Eternity

Amber

I love books that deepen our understanding of one particular material, and so when I met dr. Rachel King briefly early in 2022 and she told me she was finishing a book on amber, I was excited! And rightly so: Amber. From Antiquity to Eternity is a most engaging and important discussion of all things amber.

 

What stands out from the first lines is how very well this book is written. It is accessible, relatable, easy to follow, but by no means simple. The volume explores the world of amber in great detail and with obvious knowledge. Given the amount of information and the complexity of the topics presented, clarity of writing is of great importance: you will enjoy the lucid and engaging style of Dr. King!

Amber discusses amber from a great many angles. In eight chapters, the past, present and future of this material that has enticed humans for millennia are presented. The first of these deals with definitions: what is amber, where is it found, what different types exist? In this chapter, the wide reach of this book becomes apparent. Themes like ecosystems, the science behind investigating amber and research angles yet to be pursued all are discussed. The next chapter picks up on this theme of research in presenting what earlier scholars believed amber to be. This results in a delightful overview of legends and myths, some of which may reflect actual archaeological finds – and with that, the next chapter on the use of amber artefacts by humans begins.

This focuses mainly on Europe and China, and contains a great overview of amber finds from prehistory and the early Middle Ages. The following chapter picks up the narrative in later periods and highlights the amber trade in all its aspects. How and where to find amber is followed up upon by the economic, political and social aspects of the amber industry. An excursion to the Dominican Republic shows the harsh reality of amber mining, and as such makes us reflect on not just past monopolies on the mining and selling of amber, but also of the present and future of the amber industry. The amber industry is fraught with illegal and unsafe extraction and trade: just one example is how in 2015, 90% of the amber from Ukraine has been extracted without permission (p. 94). This book certainly gets you thinking on the darker sides of those pretty amber jewellery items that are offered for sale far and wide.

It will come as no surprise that this material, that has played such an important part in trade networks and political power plays, has been imitated as well. I am obviously aware that amber is widely faked, but I did not know how far back this went – did you know a recipe to imitate amber existed in China some 1,800 years ago, and that imitations of amber have been found in Spain that date back 4,000 years? And there is so much more involved in imitations: from smell to inclusions, from weight to colour – and increasingly innovative and scientific ways to expose forgeries.

The chapter on jewellery is a varied introduction in the many forms amber is worn as adornment. That is not just as personal adornment, but also as precious objects to show wealth and status, such as handles, mouthpieces or inlays. In this chapter the colonial use of amber as commodity is addressed, and its fragrant capacities and its meaning in ritual are touched upon as well. This is a dazzling and kaleidoscopic portrait of the use of amber, which is continued in the next chapter on artworks in amber. The final chapters deals with lost amber in again a variety of angles: not just actual lost pieces, but also the loss of status and knowledge. In this chapter, the role of private and public collections in preserving amber surfaces. As many pieces with spectacular inclusions find their way into private collections, scientists may not always have access to study these (p. 217) – and studying amber and its eternal world within from a scientific perspective is relevant for not just our past, but our future as well. (so if you do have a collection: please give some thought on how to pass your collection on to the future)

The focus of this beautifully illustrated book is mainly on Europe and Asia. The use and meaning of amber in other parts of the world are only touched upon in a few instances, but that does not diminish the relevance of this book. What makes Amber so important is its wide scope. It places amber not just in an art historian or historical context, but also in a social, environmental and humanitarian context. Throughout the book, attention is called to the ethical and sustainability challenges with amber, the knowledge that can be gained from it about our climate and planet, and the inevitable choices that present themselves. The attractive way in which the author presents an accessible overview of the history and uses of amber as well as serious food for thought in one fluid narrative is rare, and I enjoyed every page of this book. Possibly the most powerful line I read is the last one, in which past and future of our planet meet: I highly recommend reading this book, as it will not only tell you everything you would want to know about amber itself, but also eminently shows the importance of our choices in studying and treating it for humanity – which stretches so far as our very survival.

Amber. From Antiquity to Eternity, by Rachel King, 2022.

272 pp., full-colour, in English. Published by Reaktion Books

Available online and with the publisher.

I purchased the book in the British Museum.

More on amber in jewellery is in this article. If books like these are of interest to you, join the Jewellery List and have reviews of new books sent to you!

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.