What is ‘Kuchi jewellery’?

What is ‘Kuchi jewellery’?

by | Cultures & People

Afghanistan adornment

What is ‘Kuchi’ jewellery?

Updated Dec 27, 2023

It’s a popular term: ‘Kuchi jewellery’, a firm favourite in so-called tribal fusion dance costumes. Also spelled Koochi or Kochi, it often refers to jewellery with colourful glass insets, broadly coming from Afghanistan and Pakistan. But what does ‘Kuchi’ mean?

A Pashtun dress ornament from Afghanistan

Who are the Kuchi?

Basically, ‘Kuchi’ is not a specific people, but a generic term used for a wide range of peoples in Afghanistan, but also in Pakistan and Iran. [1] The word ‘kuch’ itself is Farsi and means ‘migration’. The term is used widely these days, both in the region itself and by cultural outsiders, but as you might expect, ‘Kuchi’ is not what those peoples called themselves.

This is also where it gets complicated when it comes to jewellery research, because as ‘Kuchi’ is a relatively recent term, you will not find references to ‘Kuchi jewellery’ in any of the older standard works on jewellery from Afghanistan. [2]

‘Kuchi’ is not a specific tribe or people. ‘Kuchi’ is a generic term that did not exist before the 1980s

Tribes in Afghanistan: more than just one people

The geographic area inhabited by the peoples called ‘Kuchi’ today is incredibly complex when it comes to tribal, cultural and ethnic identities and affiliations. I wrote a little about the difficulties of pinning just one label on jewellery here, and those difficulties apply to ‘Kuchi jewellery’ as well.

Political, social, religious and cultural changes in the past decades have left their mark on the many peoples living in this region as well as on borders of countries. The Pashtun are the largest group, but Turkmen, Uzbek, Tajik, Kazakh, Baluch and Hazara people live in current-day Afghanistan as well.

As a result of decades of war, many have fled to Pakistan and further afield – it is impossible to capture the details and the effects of recent history in one short blog post, but a list of resources to start reading is here.

Pashtun silver ring with red glass

What is Kuchi jewellery?

Under this umbrella term, many styles and people who wore these items ressort. The jewellery styles share a visual language with the western Himalayas and are worn as far away as northern India as well.

There is no straightforward, clear distinction in attributing jewellery items in a region with such a kaleidoscope of peoples, shifting allegiances and changing spheres of influence. An in-depth study of the jewellery we simply call ‘Kuchi’ today could shed light on all of these aspects, as jewellery is a powerful historic source.

Afghan jewellery heritage

Alfred Janata has attempted to provide an overview as best he could in his book on Afghan jewellery.

The ornaments with red, green and blue glass that are most often labeled as ‘kuchi’ were mainly sold in Khost in the eastern Afghan province of Paktya, but created in Pakistan: once again, current-day borders are not synonym with cultural differences. According to Janata, these ornaments were worn by nomadic women who either spent the winter season in Paktya or whose migration routes crossed this province. [3].

Ornaments with smaller inlays of green and red glass (so not blue) were called Katawaz according to Janata, and may have been worn by nomadic women traveling between the winter pastures in Paktya and Katawaz, where the summer pastures were located. [4]

The famous chokers with glass inlays and dangles were worn mainly by the Pashtun in the south and southeast of Afghanistan [5], and so the book provides an overview of Afghanistan’s jewellery heritage.

Two Afghani chokers, likely Pashtun

Kuchi ornaments

The article by Hejzlarova, Susek et al [6] presents several types of ornament worn by the people called Kuchi today. They note most of the jewellery worn by women focuses on the upper part of the body like head adornment, ear and nose plugs, choker necklaces, amulet necklaces, rings and bracelets.

See more on Kuchi Afghan vanity grooming sets here

Kuchi jewellery is not made of sterling silver, but of an alloy comparable to nickel silver or ‘German’ silver, consisting of copper, zinc and nickel. The small amount of silver in these jewels was obtained from silver coins.

Modern-day Kuchi jewellery and the West

Nowadays, the jewellery pieces offered as ‘kuchi’ are usually entirely newly produced, due to the high demand for these pieces in the West. In these, a new colour palette emerges: pink, neon green, purple or bright yellow glass have been added to the original colour schemes.

The use of uniform colours in jewellery pieces is also indicative of new production: pieces executed in one colour only, notably the popular chokers, are almost certainly newly made. Actual vintage pieces have become increasingly rare.

That is not simply a matter of ‘fake’ items: creating and selling jewellery is the main source of income for many displaced people in this war-torn region. It has become a symbol of identity proudly worn by Afghans in the diaspora.

In that respect, the term ‘kuchi’ has taken on new meaning: from a term coined by cultural outsiders with little to no regard for the differences (and similarities!) of the many cultural groups in the region, it has evolved into a term used by people from Afghanistan as well to represent their cultural heritage. [7]

Afghani styles of many peoples

So, while ‘Kuchi jewellery’ remains a generic term for the jewellery styles of many social groups in Afghanistan and beyond, a group of jewellery that needs much more detailed research to pinpoint their similarities and differences, one thing is clear: it is an expression of heritage and identity for many.

—

Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More on traditional jewellery from Southwest Asia and North Africa? Browse the jewellery blog here!

Never miss a thing on jewellery news? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management and research? Check this free resource or download the e-book!

—

References

[1] Tapper, R. 2008. Who are the Kuchi? Nomad self-identities in Afghanistan, in: Journal of the Royal Anthropological Institute 14, pp. 97-116.

[2] Janata, A. 1981. Schmuck in Afghanistan, does not mention ‘Kuchi’ for example – the term was not used as widely as it is today. Neither do Stuckert & Bucherer-Dietschi  1981, Schmuck und Silberschmiedearbeiten in Afghanistan und Zentralasien : Schmuck in Sammlungen, Bibliotheca Afghanica, which has an emphasis on Turkmen jewellery in Afghanistan.

[3] Janata 1981, p. 68.

[4] Janata 1981, p. 70.

[5] Janata 1981, p. 74.

[6] Hejzlarova, T., L. Dusek (2019) Kuchi Jewellery, in: Annals of the Naprstek Museum 40/2, pp. 27-48.

[7] Among many other things: the adaptation of the world ‘kuchi’ has many other implications, as the article by Tapper explores. See also Hejzlarova et al., p. 33, who observe there is very little known about this type of jewellery, but an abundance of misinformation in circulation.

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.

Magic of plastic

Magic of plastic

by | Magic & Amulets

surprising materials

The magic of plastic

Updated Jan 8, 2024

Jewellery made with materials that we consider less valuable, are often not taken seriously. Plastic has that effect in particular, and you may hear comments like: ‘this piece has plastic, so it’s not real’ or even ‘this is a fake because it should have coral instead of plastic.’ But who says that it should…?⁠ Plastic plays a role in ethnic jewellery quite often, and its use extends into the realm of amulets. Here are a few examples.

Silver and enamel brooch from Kabylia, with bakelite
Bedouin woman holding her child, with silver and imitation amber jewellery.
Silver Bedouin ring with turquoise-coloured plastic.
Silver Omani necklace with glowing red bicycle reflector.

Plastics in ethnic jewellery: Bakelite

Bakelite, a type of plastic invented in the early 1900s, was widely used in jewellery production in the early 20th century. Its popularity was due to its durability, versatility, and affordability. It could be shaped, carved, and molded into various forms, making it an ideal material for creating intricate and colorful designs.

So instead of thinking about this material as ‘fake’, I feel the use of bakelite in traditional jewellery highlights the intersection of technology and culture and tells us about the changing social and economic circumstances of that time. It shows how people adapted to new materials and incorporated them into their jewellery.

The bright red of the bakelite in the Kabyle brooch shown above (click to enlarge it) shows both the fascination for this new material, and works miracles for the wearer!

Plastics in ethnic jewellery: Imitation amber

One thing these plastics were used for, is to imitate the costly amber. Amber was valued for a number of reasons, including magical ones: a little more about that is here.

An example is the woman from el-Arish, shown in the photo above (click to enlarge it). Around her neck, visible behind the string of Maria Theresia Thalers her child is playing with, she is wearing a necklace made of dark beads: most likely these are the imitation amber beads in a dark cherry hue as shown in the image.

They also exist as proper amber imitations in an opaque amber colour, and are now rare themselves as they are no longer made. ⁠[1]

Plastics in ethnic jewellery: Colour over material

Plastic is also the material chosen for the Bedouin ring, shown above (click to enlarge it) where a piece of battered and damaged plastic has been carefully set in silver. Judging by the wear, it has kept its wearer safe from harm for a lifetime.

That is by virtue of its colour: these bluegreen shades are considered particularly effective against the evil eye, just like turquoise. This piece of plastic serves that purpose perfectly: it is the colour that matters here, not the material.

A plastic bicycle reflector against evil

A wonderful example of jewellery with apotropaic properties is the silver necklace from Oman shown above. It combines several well-known principles of magical protection, and adds to those a reinforcement of its own.

The colour red is the dominant colour when it comes to averting evil, and is present here in three splashes of vibrant red.

Three is a number that is regarded as beneficial, as it represents the trinities of life: man, woman and child, along with birth, life and death.

The dangles confuse evil with their unpredictable swaying and the sound of their jingling, while the tiny crescent moons bring prosperity and growth. ⁠

But it is the center piece that steals the show: a plastic bicycle reflector. Its reflecting capacity averts evil even more on top of all of the above: imagine how these would shine when they catch a ray of sunlight! ⁠I especially like this necklace as it shows that purpose beats material in some cases: there is nothing precious about a plastic reflector, and yet it may save your life from both evil forces and approaching traffic.⁠

Plastic in ethnic jewellery: a wonderful amulet

So you see how plastic may function as amulet in a range of ways. It can be a substitute for something else (such as imitation amber or coral), it can function as fully equal to other materials because of its colour, and it can even be the material of choice precisely because of its own capacities. In all cases, it would have been as real to the wearer as other materials: it is the desired effect that counts!

—

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!

Never miss a new article? Join the Jewellery List and have them delivered to your inbox!

—

References

[1] See the chapter on imitation amber in King, R. 2022 Amber. From Antiquity to Eternity.

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].

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.

Recognizing reproductions

Recognizing reproductions

by | Tips for collectors

five tips

Reproductions: how to check for authenticity

Updated Jan 12, 2024

How to tell if a piece of ethnic jewellery is authentic? Many pieces are sold as “antique” or “traditional” when they are actually modern reproductions. But what is ‘authentic’, and how does that show in jewellery?

Authenticity in traditional jewellery from the Middle East and North Africa

First off, authenticity is a complex issue. Because who determines what ‘authentic’ is? [1] Often, the notion of authenticity is both visual and pinned to a moment in time: this is what it looked like then, and so this is what it is supposed to look like forever.

That is often the result of available sources like books and online image searches, as I wrote about here, that provide that reference of what jewellery should look like. But personal adornment is always subject to change, so comparing a piece of jewellery to an image frozen in time is not enough in itself.

Factors such as age, materials, craftsmanship, provenance, motifs, and designs should all be considered when determining the authenticity of a piece.

So, what should you look for? Here are 5 points to consider.

1. Age and patina in traditional jewellery

Older jewellery will show signs of age and wear, which can be relevant indicators of authenticity. Just picture in your mind how a bracelet has sat on a wrist for years, a necklace moved over textiles every day, an anklet jingled along with its wearer on her way to the market…Just like with humans, age shows.

Scratches, dents, and tarnish may indicate that a piece is authentic and has been used, rather than being a modern reproduction. But be aware: tarnish can have been artificially inflicted upon a piece as long ago as, well, yesterday.

Patina, that soft silk-like shimmer on a piece of jewellery as a result of years of contact and wear, is difficult to replicate in reproductions. So that can also be an indicator of authenticity.

And then there is the fact that there are truly antique pieces out there, that do not necessarily show signs of use and wear. Simply because they might not have been worn frequently or they have been carefully preserved over the years – read all about that phenomenon here.

Signs of use and wear alone are not definitive indicators of authenticity. Therefore, it’s important to consider these signs together with other indicators of authenticity, such as materials and craftsmanship, provenance, motifs and designs, and hallmarks and stamps.

2. Materials and craftsmanship of jewellery from the Middle East and North Africa

Craftsmanship can be a telling sign. Authentic traditional jewelry was made by skilled artisans who used techniques passed down from generations. These techniques, materials and designs are specific to each culture, region and timeframe and can be difficult to replicate in reproductions or forgeries.

As craftmanship varies even within the same culture and region, and also changes over time like anything else in personal adornment, it is absolutely essential to have a good understanding of the traditional techniques, materials, and designs specific to the culture, region and timeframe the jewelry is claimed to be from.

No piece is created equal, in terms of craftsmanship: some pieces will be more intricate, detailed, and finely made than others.

It really depends on the maker, the time period and the intended usage. For example: many silversmiths throughout the region were Jewish. After 1948, they migrated to Israel, leaving a lacuna in skill and knowledge behind. The finesse of their work is hard to imitate.

And as for materials, a main question is whether the material did exist in the period the piece is supposedly from – it would not be the first time you’ll find a necklace with early 20th century trade beads advertised as genuinely 18th century (and that is even without the possibility of the beads themselves being reproduced).

3. Motifs and designs: see, study, learn

Original jewellery often features unique motifs, patterns, and designs that are specific to the culture and region that the jewellery comes from.

This is where more research comes in: familiarizing yourself with particular motifs and the execution of those motifs requires lots of reading and, of course, seeing. One of the things I enjoy the most is endless comparing of pieces.

And as with many other fields of research, the devil is in the details: the overall composition may be featured in a wide area, but the execution of the details is mostly telling of the exact origin of a piece. Modern reproductions often get those tiny details not quite right, including the level of craftmanship, so getting a handle on these is key.

4. Hallmarks and stamps in vintage silver jewellery from Southwest Asia and North Africa

Check for the presence of hallmarks or stamps. These may indicate the metal content, maker, and sometimes the date of the piece. As they are mandatory, they can often not be forged (a modern reproduction of an old piece still needs a current hallmark to comply with the law). Checking for hallmarks that are contemporary with the period the piece is supposedly from, may help in determining its authenticity.

But, be aware that not all pieces are hallmarked, especially older ones. Most countries in North Africa and Southwest Asia only adopted a hallmarking system in the late 19th and early 20th century. Many pieces older than that will not have been hallmarked, or may have been hallmarked only when a piece was eventually sold.

5. Provenance: this can be of great help

And finally, there is the provenance of a piece that may help determine its authenticity. Provenance is the history of a piece of jewellery, and this is where the paperwork comes in.

Particularly for older pieces, provenance may help to establish whether a piece is indeed as old as is claimed: are there any sources that will confirm this exact piece has been in a family for decades? With traditional jewellery, this is a difficult path.

See 15 reasons why provenance matters in this article – did you ever think of reason no. 3?

Many heirloom pieces that are sold do not come with receipts of purchase, as they have been handed down within a family for generations.  And like anything else, provenance can be forged, too: it’s not that difficult to provide an old-looking piece of paper (if it can be done with papyri, it can be done with receipts!).

Recognizing reproductions: learning by doing

Determining the authenticity of a piece of jewellery is a process that involves all of these together: the more you familiarize yourself with jewellery through handling, seeing and reading, the easier it will be to distinguish reproductions from authentic pieces!

–

More articles on jewellery research? Find them all here!

More on the background of jewellery? You might enjoy one of the e-courses!

Always the latest blog articles, book reviews and other jewellery news in your inbox? Join the Jewellery List and stay in the know!

—

References

[1] Broekhoven & A. Geurds 2013. Creating authenticity : authentication processes in ethnographic museums. Sidestone Press (read online for free)

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].

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.

Amber

Amber

by | Reviews

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.

 

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.

Engraved Gems

Engraved Gems

by | Ancient jewellery, European jewellery, Reviews

the guy ladriere collection

Engraved Gems

One of the most elusive forms of adornment from Antiquity are engraved gems. They existed in large numbers and many have survived to this day, but as these were eminently portable objects, they often lack context. Stones were taken out of rings and pendants to be fashioned into another jewel, and endless cycle that continues until today. By studying engraved gems carefully however, there is a lot to be learned about the world they come from. L’École, School of Jewelry Arts, exhibited a large private collection in 2022, accompanied by the book Engraved Gems. Cameos, Intaglios and Rings from the Guy Ladrière Collection.

 

Engraved Gems

Roman ring with inscription, cat. no. 306

This large and beautifully designed book starts out with an interview with the collector himself. The choices and preferences of the collector are a most important element of any collection, as they are imperative to our understanding what the collection represents. Where the major and important collection of cameos by Derek Content for example was built specifically to be representative and show the full range of quality found across the Empire [1], in the interview with Guy Ladrière we learn that his choices were based on beauty and personal preferences. That results in a different selection, and I enjoyed the passion shining through in the interview: many collectors will relate to his anecdotes of having, holding, missing out on, and wearing.

The first chapter takes us along in the world of words: what exactly is the difference between cameo and intaglio again, how were they created and from which stones? The treaty on terminology used for a variety of gemstones is particularly useful as it presents an overview of the convoluted history of these terms, and clearly states which terms will be used throughout the book. Now as terminology is notoriously complicated, I’m sure gemmology experts will have their own opinion of these choices, but specifying what is meant by ‘agate’, ‘carnelian’ etc. in the present volume does provide clarity for the understanding of the contents.

One thing that struck me as odd in this chapter is the statement, regarding garnets, that the trade routes to the East disappeared in the early Middle Ages, and so garnets were collected from Bohemia and Portugal. (p. 31). Research has shown that these trade routes did not disappear completely. Garnets in early medieval jewellery from various locations across The Netherlands have been examined in 2011. The results were fascinating: most of the garnets in these jewellery pieces came from India and Pakistan, and a single piece of jewellery could even contain garnets from several geographic locations. [2] It would be certainly interesting to examine why Portuguese and Bohemian garnets were preferred for engraved gems in this period!

Next, we dive into the collection itself. This is presented largely chronologically. Themes recur in several chapters, and where necessary, younger gems are discussed in the same chapter as older ones when it serves the theme at hand. The chapter ‘From the Phoenicians to the Sassanids: a brief history of glyptic art’ does not actually provide a brief history of glyptic art, because the earliest forms of seals like those from Mesopotamia and Egypt are not represented in the collection. What you will find here is an essay on how pre-Classical forms found their way into later pieces, such as the Egyptian scarab. This Classical-centered point of view is also present in the description of Sassanid glyptic art, of which is stated that they ‘…raised it to levels sometimes equal to the most beautiful Greek engravings’. (p. 46) Sassanid seals do obviously reflect the Hellenistic history of the region under Alexander the Great and his successors, but also draw upon older regional forms. [3] This approach tells us a little more about the collection itself: it has been compiled with loving eye for beauty, and notably Classical beauty.

Before continuing into the Classical world, the choices made by engravers in using the properties of stones, such as material and colour, are explored. Here, we see several examples of cameos created by employing the natural properties of a stone to their fullest advantage. The diachronic composition of the collection provides splendid examples of cameos from multiple timeframes, and it is interesting to see how new forms of playing with colour and structure continue to emerge through time. Intaglios as well have on occasion been selected for their colour, notably when it comes to magical gems: the present chapter mainly deals with cameos, and a later chapter in the book presents protective gems.

Graeco-Roman Egypt is represented with several beautiful cameos, of which a sardonyx piece with three superimposed portraits of Ptolemaic rulers is a remarkable piece. The discussion in this chapter highlights the pluriform culture of Graeco-Roman Egypt, where Egyptian, Greek and Roman gods merged into new deities and foreign rulers identified themselves with Egyptian gods and goddesses. Roman emperors, Alexander the Great and Medusa are presented in the next chapters in both antique and more modern gems. As classical Antiquity continued to fascinate in later centuries, these portraits were popular in the 17th, 18th and 19th centuries as well. A noteworthy chapter is that on replicas, pastiches and copies: here, we learn about the blurred lines between original and reproduction. The detective work involved in tracing the original or model for a later reproduction reveals a little of the larger world behind these miniature masterpieces. Original pieces from Antiquity, but also paintings and prints served as blueprint for carved gems.

Apart from individual carved stones, the collection also holds many rings. We see a selection of these in the chapter in icons, rings and seals in the Byzantine Empire, as well as in the chapter on two thousand years of rings. Both show absolutely stunning examples of rings, which are discussed in depth in the accompanying texts. The ring theme continues with a chapter on protective gems, which were often worn set in a ring, and a chapter on the very personal nature of engraved gems. Notably rings were gifted as personal jewellery, and may contain inscriptions that wished the wearer well or spoke of love. An example in the collection is catalogue nr. 306, a Roman ring, which carries a cameo inscription (see image included above). Of this, the author writes that it is ‘not very legible here, but speaks of sweetness (dulcis, suavis)’ (p. 170). I would propose the reading ‘dulcis vita’ – a sweet life. The thing with these particular texts is that the composition pays more attention to the even display of individual letters than to how we would separate words. Add to that that the execution of the letters themselves is crude, and they do indeed become difficult to read. Here, the division of letters over the gem is 2 sets of 2 letters on each long side, and 1 letter on both short ends. The spelling, starting from the upper right corner and reading counterclockwise, would thus seem to be DU-LC-I-SV-IT-A, wishing the wearer a sweet life. [4]

The journey through time continues with gems from the Renaissance, the 17th century and Neoclassicism. Individual artists, the significance and meaning of forms and the echoes of Antiquity are all discussed and placed into context.

Each chapter in this book is well referenced and as such provides an excellent starting point for further research. The references contain not only relevant literature, but also parallels: an absolute necessity and an invitation to explore further. In that respect, I was however surprised to see the collection mentioned above, of the Content cameos, missing from the bibliography. The photography is beautiful, and I really appreciated how much space is allocated for images: rings are shown from several angles and cameos from different perspectives so as to take in as many details as possible. The structure and organization of this volume are also wonderfully clear: each image in the main chapters refers to a catalogue entry. The full collection is included in the last section of the book, where details of each piece are provided, referring back to the discussion in the main text.

This is a beautiful book that illustrates the long history of engraved gems from the Classical period and their reception, imitation and emulation in later times. It contains a massive amount of information that is well written and easy to digest: I have learned quite a few things while reading this book. As substantial private collections of engraved gems are rare, this book is a valuable addition to the shelf of any researcher and a beautiful introduction into the world of gems from past to present for the interested reader.

Engraved Gems. Cameos, Intaglios and Rings from the Guy Ladrière Collection. By Philippe Malgoures, Mare & Martin/L’Ecole, School of Jewelry Arts 2022.

304 pages, full-colour, in English. Available through the publisher

The book was received as review copy by the publisher.

More books on historical jewellery? See my picks for you here, or join the Jewellery List to have book alerts sent you as they appear! And the e-course on History of Jewellery brings you 5,000 years of stunning jewellery: surround yourself with gems from Antiquity here!

References

[1] Henig, M. and H. Molesworth 2018. The Complete Content Cameos, Brepols, Brussels, p. 7

[2] Willemsen, A. 2014. Gouden Middeleeuwen. Nederland in de Merovingische wereld, ca 400 – 700 na Chr. Walburg Pers, Zutphen, p. 150-151

[3] Gyselen, R. 1997. L’Art Sigillaire Sassanide dans les collections de Leyde, National Museum of Antiquities, Leiden, p. xviii, or see Gyselen, R. 2017. Sasanian seals: owners and reusers, in: Bercken, B.J.L. van den and V.C.P. Baan (eds), 2017. Engraved Gems. From Antiquity to the Present, Sidestone Press, Leiden pp. 85-92 for an iconographic discussion of their owners’ identification

[4] See a comparable crudely executed gem from Nijmegen, with a similar pattern of 1-2-2-1-2-2 letters that reads SI VIS VIVAM presented in Van Roode, S. 2019. Geheimen uit Gelderse Bodem. 10.000 jaar archeologische sieraden. Blikveld Uitgevers, Zandvoort, p. 50-51

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.