Jewellery and Ramadan

Jewellery and Ramadan

by | General jewellery topics

Jewellery & religion

Jewellery and Ramadan

Published on February 25, 2025

Ramadan, the ninth month of the Islamic lunar calendar, is a period of deep spiritual reflection, fasting, and community engagement for Muslims worldwide. The end of the month is celebrated, too, and during both the holy month itself and the Eid-celebration after, jewellery is important. This blog tells you more about jewellery and Ramadan!

Can you wear jewellery during Ramadan?

The short answer: yes! There are no specific rules in place that forbid the wearing of jewellery during Ramadan. Given that Ramadan is a month of reflection, modesty and devotion to God, it is however encouraged to be not too ostentatious.

So, in the end, wearing jewellery during Ramadan is a personal choice, influenced by cultural traditions, religious interpretation, and personal intent. If it aligns with modesty and does not distract from worship, it is widely accepted.

Jewellery as Ramadan gift

Jewellery makes a wonderful Ramadan gift. Gifts can be exchanged when breaking fast together: not every day, but when families visit each other on the occasion of a more formal iftar (the first meal of the day, just after dusk) or suhoor (the last meal of the day, just before dawn), small gifts add to familial bonds and to the celebratory atmosphere. Gifts are also extended to members of the community. [1]

That is a tradition that large brands have picked up upon, too. In the Gulf and the Arab Peninsula for example, the period leading up to and during Ramadan sees jewellery brands launching special collections that resonate with the spiritual and cultural themes of the month.

These collections often feature designs incorporating traditional motifs, like the crescent or eye, or calligraphy of one of the Names of God: try an Internet search on ‘Ramadan jewellery’ and see what beautiful collections are offered each year!

Jewellery & sales during Ramadan

The month of Ramadan often leads to a surge in economic activity, particularly in the jewellery sector. The last ten days of Ramadan are typically the busiest: this is when Eid al-Fitr is around the corner and the preparations for the celebrations start.

The importance of Eid al-Fitr is hard to overestimate: even though it is not one of the major holidays, many stores and offices are closed for several days, and it comes with the same stress-levels as Christmas: think of thorough house-cleaning, family visits and lots of cooking and eating together!

On Eid al-Fitr, people wear new clothes, and it is customary to give gifts. These often include jewellery as well.

Where does this custom of jewellery gifts during Ramadan come from…?

This tradition itself is rooted in the economic significance jewellery has had for millennia. Giving small pieces of jewellery is a way of adding to a personal savings’ account, you could say: husbands, brothers and uncles present smaller pieces of jewellery to the women of their families on celebratory occasions, and Ramadan is one of those occasions.

The emphasis on jewellery as you’ll find it today, with special Ramadan collections and jewellery heavily marketed as suitable Ramadan or Eid gift, is however more of a marketing principle of the last decades: before that, there was no such thing!

There is another aspect of jewellery in relation to Ramadan, and that is whether or not you should pay zakat over it: that’s what the next blog is about!

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References for Jewellery & Ramadan

[1] Hilma Granqvist mentions the giving of gifts to a male school teacher in Artas, Palestine, in the 1920s. H. Granqvist, Birth and Childhood among the Arabs, Soderstroms, p. 148.

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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.

What is an amulet in jewellery? Meaning and tradition

What is an amulet in jewellery? Meaning and tradition

by | Magic & Amulets

Amulets and charms

What is an amulet in jewellery? Meaning and tradition

Published Feb 5, 2025

When you have been following this blog for a while, you know that the use of jewellery in informal ritual is one of my main research themes. Jewellery is so powerful when it has the role of amulet! But what is an amulet, exactly…? And what forms can it take? Let’s dive into that in this blog!

In this post, I’ll explore what amulets are, how they function in jewellery, and the many forms they take — from silver cases with inscriptions, to stones like carnelian or turquoise, to simple objects gathered from meaningful places. This blog is a great starting point for my wider exploration of amulets in jewellery traditions across North Africa and Southwest Asia, as it lays the foundation for understanding the world of amulets. At the end of this article, I’ll wrap everything up in a FAQ-section.

What is an amulet? Definitions and cultural meanings

Basically, an amulet is an object that is believed to provide protection, good fortune, or other benefits to its wearer. The word “amulet” derives from the Latin amuletum, which historically referred to an object worn to safeguard against harm.

They go by many names in the region: hirz, higāb, taweez or telsim are just a few of the indications for an amulet. [1] Amulets can take many forms, including inscriptions, gemstones, metals, or organic materials.

While their function varies across different traditions, the common thread is their role as a source of protection and well-being.

Amulets in jewellery: general forms and protective symbols

These objects are part of a longstanding tradition, where materials, shapes, and inscriptions are believed to offer protection, bring blessings, and keep evil away. And that long tradition is, in some cases, so old, that their meaning has changed over time.

Throughout history, specific symbols have persisted in jewellery designs, often without people fully remembering their original meanings. The triangle, for example, appears in numerous regional traditions. It may signify stability, fertility, or protection, depending on the cultural and historical context.

This post about the origin of the triangle shape shows you an example of how that works!

Dots, waves, and geometric patterns are also widespread, and while interpretations vary, their continued use indicates a shared understanding of their beneficial properties. Such motifs are deeply embedded in the visual language of jewellery, passed down through generations as carriers of protection and good fortune.

Amulets with inscriptions: Qur’anic verses and protective texts

What comes to mind often as the first thing when talking about amulets, are pieces containing inscriptions—verses from religious texts, prayers, or symbols created by practitioners skilled in their craft. These talismans are often written on parchment or metal, folded, and enclosed within amulet containers.

See more about those, and the history hidden in their shape, in this blog.

The inscriptions may include verses from the Qur’an, invocations for protection, or numerical and geometric configurations believed to protect. Such inscriptions are considered deeply personal and are rarely shared or displayed openly.

Should you open amulet containers…? Read more about that here!

But there is much, much more in jewellery that may function as an amulet.

Silver, stones, and organic materials in amuletic jewellery

The choice of material is another key factor in amuletic jewellery. Certain stones and metals are believed to hold inherent protective properties.

Silver, for example, is widely used for its association with purity and its supposed ability to ward off harm. Carnelian, turquoise, and amber are frequently incorporated into rings, necklaces, and bracelets due to their perceived protective and healing properties.

Organic materials, such as coral or specific animal parts, are also sometimes used, reflecting an understanding of the natural world as a source of power and protection.

Continuity and change in amulet traditions over time

The thing is, those capacities attributed to materials change significantly over time and per place. So, what may be important in one timeframe, may not carry the same meaning three centuries later, or 20 kilometres away. The power of amulets changes along with its humans, and while these traditions have deep historical roots, they continue to evolve.

They are also prone to commercialisation and marketing: see this article on why pink eye beads really are not a thing!

Understanding the cultural context of jewellery and amulets is crucial if you want to catch a glimpse of the lives of their wearers.

Locality and place: how geography shapes amulets in jewellery

That context sometimes is the literal, actual context of the person who once wore a piece of jewellery. And that is when it gets even more interesting: when we’re looking at materials that seem totally insignificant of themselves. Like pebbles, pieces of flint, a twig of a tree…what could possibly be the value in that, and how would we know? The significance of an amulet is often rooted in local geography: in many traditions, an object gains its power not only from its shape or material but from its origin.

A ritual specialist may prescribe that a piece of flint or a twig must be gathered from a specific location—perhaps a wadi, a mountain pass, or near an ancient well—because that place is believed to hold particular energy or spiritual potency.

This connection between amulets and their place of origin reflects a broader belief that land, history, and spirituality are intertwined. For those who wear these objects, the amulets serve as reminders of their place in the world and the protective forces believed to be inherent in their surroundings.

That is a most beautiful form of connection, and one that is most difficult to interpret for cultural outsiders, too. Sometimes, we are left with nothing more than what looks like a simple pebble, that once meant to world to someone. And when we only look at jewellery as adornment, something as worthless as a regular pebble gets discarded or deselected – its personal and cultural value goes unrecognised.

Frequently Asked Questions about amulets in jewellery

Q: What is an amulet in jewellery?
An amulet in jewellery is an object worn for protection, good fortune, or spiritual benefit. It can take any form imagineable, from religious texts to meaningful objects.

Q: How are amulets different from charms or talismans?
That depends on which definition is used. Broadly speaking, a charm often attracts good luck, while a talisman is made to bring about a specific effect. An amulet is usually worn to protect its wearer from harm or negative forces.

Q: What materials are used for amulets in jewellery?
A wide range of stones such as carnelian, turquoise, and amber, each valued for their individual properties; organic materials such as coral or wood; specific metals such as gold, silver, iron and aluminium for particular circumstances; and any and all materials that hold meaning to the wearer.

Q: Do amulet traditions change over time?
Yes. The meaning and use of amulets vary across regions and periods. A stone or shape that carried power in one century or location might mean something different elsewhere. There is no one-size-fits-all explanation for amulets.

Conclusion: what is an amulet in jewellery?

This short exploration has shown you that everything can be an amulet. Literally everything. Whether it is, depends on so many factors: its material, its symbolism, its cultural context, the process through which it became an amulet, and its importance to its wearer.

I think you may be able to relate to that: we all have that one thing, that ‘lucky charm’ that we carry with us during job interviews or when we travel. It does not even have to be jewellery, it can be a pair of socks, even…but when it makes us feel safer, comforts us or brings us happiness, it is effectively an amulet. But when that pair of socks ends up in the laundry after your trip, can anyone  tell their specific importance they hold, but you yourself?

This ‘extra’ use is one of the things that makes jewellery much more than an accessory. It is a repository of cultural memory, identity, spiritual belief, and protective symbolism. Amulets in jewellery are not a side story — they are at the very heart of how jewellery functions in culture.

In North Africa and Southwest Asia, amuletic jewellery has played an essential role in everyday life for a very long time. Jewellery shaped both personal and communal identity, functioned as portable asset, and served protective and symbolic functions simultaneously. I love that multifaceted nature of jewellery!

Amulets and charms in jewellery: learn to decode jewellery yourself!

If you are intrigued by the history, meaning, and traditions behind amuletic jewellery from North Africa and Southwest Asia, an in-depth exploration awaits! The online course on Amulets & Charms delves into the fascinating world of talismans, charms, and protective adornments, offering detailed insights into their cultural contexts and historical significance. Whether you are a collector, a jewellery enthusiast, or simply curious, this course provides the tools to deepen your understanding and appreciation.

Click here to see more, and enroll today to uncover the hidden stories behind these remarkable objects – you could be watching the first episode in 10 minutes from now!

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References

[1] See Garcia Probert 2021, p. 55 for a discussion

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.

Jewellery and the senses: sound

Jewellery and the senses: sound

by | General jewellery topics

Sensory research

Jewellery and the senses: sound

Published on January 28, 2025

Ethnic jewellery is often studied for its aesthetic, symbolic, and material qualities. But there is much more to it, that is difficult to study from a book or when a jewel is lying in a museum case…and that is the sensory experiences it evokes for its wearers and the people around it. And imagine, for archaeological jewellery that is even harder, as there is no one left to ask! So, I wanted to introduce the relationship between jewellery and the senses: what did a piece of jewellery mean for its wearer? And what do we miss out as researchers and collectors, coming from another culture or timeframe? In this fourth article, we’ll look at sound.

Why study jewellery and sound?

Jewellery is not just a visual or tactile experience; it engages the sense of hearing as well. The jingling of bells, the clinking of chains, and the resonant hum of metallic discs brushing against one another are very important. They do something: they transform jewellery into an interactive and performative medium. That means that a piece of jewellery becomes much more than just a form of adornment: it is part of a living, moving cultural context. It moves along with its wearer, and it jingles!

In the Middle East and North Africa, where oral traditions, music, and rhythm are part and parcel of cultural expression, the sounds produced by jewellery play a significant role in daily life. Sound, by its very nature, requires interaction between object and wearer. Jewellery does not create sound when it’s lying around: it’s that interaction between human and thing again that makes jewellery into something more.

So that makes it a fascinating lens through which to study jewellery’s social and symbolic functions.

Sound: wearing sound in the Middle East

In many communities, jewellery that produces sound is not just a personal accessory but an extension of the wearer’s identity. The particular jingling, clinking, or ringing of a piece can make someone recognizable even before they appear in sight. If you are one of those people that loves to wear tons of jewellery, you know what I’m talking about…!

In this sense, jewellery becomes a kind of auditory signature, a way for individuals to announce their presence or movements. The tinkling sound of anklets for example would indicate to a mother where her child was playing (and all mothers know that when the sounds stops, it’s definitely time to go and check out what they’re doing!).

Wearing sound: dance

Obviously, dance provides a particularly vivid context in which jewellery’s auditory qualities come to life. The jingling of coins on belts or the clinking of bracelets creates an interplay between the dancer’s body and the ornaments they wear.

As such, they also contribute to the performance by creating an immersive sensory experience for the audience. The sound of jewellery becomes part of the rhythm, reinforcing the connection between dancer, music, and the spectators.

Wearing sound: amulets

As you know, jewellery almost always serves a protective function. And that definitely includes sound. Those small bells or coins attached to necklaces, bracelets, or anklets have as additional effect that they repel negative energies or the “evil eye.”

See more about amulets here!

Sound has the power to influence unseen forces – they will be scared off. Sound creates an audible barrier, and so you will find dangles and other jingling elements quite often in jewellery.

Jewellery and sound as a research field

Unlike visual or material qualities, sound (much like smell) is fleeting. You really need to experience jewellery in its original world, to get an idea of what its auditory capacities are. That is because jewellery is part of a living, breathing community: we often find it solitary depicted in books or showcased in exhibitions, but it is meant to move, shake and shimmy!

So how to go about that? Apart from listening to your jewellery itself, here context is everything. This is a topic where you’d need to dive into the world of everyday life: are there any references to the sound of jewellery in poetry, songs, sayings and expressions? How far does sound carry in the everyday surroundings where the jewellery was worn? Would it have been muffled by the fabric of clothing, are there occasions where sound is inappropriate? Does jewellery made of high-grade silver sound differently than jewellery of low-grade silver or base metal – can you distinguish between social statuses just by listening to the sound of jewellery…?

Jewellery never is just adornment – it is an unalienable part of its community, and that goes for its temporary capacities, too.

Jewellery and sound: an auditory world of meaning

So, by exploring the relationship between jewellery and sound, we may gain a deeper understanding of how these objects were experienced in their original contexts. It also helps us to consider what is lost when jewellery is removed from its sensory and cultural environment. That goes for all the sensory capacities of jewellery, of course, but when jewellery falls silent, we really miss out!

Read the earlier blogs on the sensory aspects of jewellery here:

Sight

Touch

Smell

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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.

The Fascination of Jewellery

The Fascination of Jewellery

by | European jewellery, Museums & Exhibitions

7,000 years of jewellery art

The Fascination of Jewellery

Published January 1, 2025

An exhibition of 7,000 years of jewellery: of course, I had to go and see that! The Cologne Museum of Applied Arts (MAKK) devoted an exhibition based on its own formidable collection of jewellery. It turned out to be a beautiful, albeit very classic, jewellery exhibition.

The MAKK jewellery collection

The MAKK holds around 1,700 pieces of jewellery in its collection. As this is a design museum (and so not specifically a jewellery or historic museum), and the collection has been built by both acquisition and generous gifts, the collection reflects a traditional European viewpoint of jewellery: Antiquity, the Middle Ages, the Renaissance and the 19th century form its focal points. [1]

The geographical focus of all this is profoundly European [2]: among the antiquities, there are of course pieces from the ancient civilizations in North Africa and Southwest Asia – these were avidly collected in Europe.

The ‘cross-cultural content’ of the exhibition, as mentioned on the exhibition website, therefore is to be seen as more cross-cultural within Europe, rather than cross-cultural as in: including non-Western cultures.

7,000 years of jewellery art in the MAKK

The exhibition itself is organised thematically as well as chronologically. This works very well: each showcase is devoted to a theme, which itself is then built up chronologically. The texts with each theme are very accessible and enlighting.

I loved that the exhibition started out with amulets as one of the first themes – one of my favourite capacities of jewellery! See a few of these in the gallery above: click to enlarge the images. Other themes include rings, mourning jewellery, inspiration from flora and fauna, as well as more stylistic developments such as the emergence of archaeologically inspired jewellery, Art Nouveau and mass-produced jewellery. A series of modern designs finally showcases contemporary takes on themes such as identity, the relation to the human body and intricate constructions.

The Fascination of Jewellery: the dreamed potential

I very much enjoyed seeing all of these stunning jewellery items and wandering through themes and time-periods. What I missed however, was an opportunity to highlight the meaning of jewellery beyond the art-historian.

For the Middle Ages for example, the art of enamelling in southern Europe and North Africa forms a technical connection between worlds that could have enhanced the exhibition, and the stylistic impact of the steppe peoples from Central Asia on early medieval jewellery is a beautiful illustration of how worlds are connected rather than separated.

And if ever there was a category of jewellery that underscores identity, it would be regional dress and adornment. The regional jewellery of the German-speaking world alone is so rich and varied, that attention to this jewellery, of more common people, could have added another layer of significance to the exhibition.

Of course, I understand that the collection of the MAKK formed the backbone of this exhibition, and also that this is one of the most respected collections of European jewellery – the jewellery shown in the exhibition is stunning and a privilege to study, no argument there. But with even a few loans from other collections, I think this particular exhibition could have transcended to an even more meaningful goal: building bridges in an increasingly fragmenting society – through jewellery. Illustrating how techniques, forms and designs form part of a shared cultural background of 7,000 years is, or could have been, an incredibly powerful message.

The Fascination of Jewellery: the catalogue

Despite my personal daydream of what a jewellery exhibition could offer, the objects on display are absolutely fabulous. Every single piece of jewellery is breathtaking!And so, I always hope for a catalogue with a jewellery exhibition.

Now one of the great things about exhibitions in German museums happens to be the catalogues, and the book that comes with this exhibition is no exception. It’s a huge, beautiful volume of more than 350 pages, entirely bilingual in German and English, and presents beautiful, crisp photos of the exhibited jewellery along with well-researched and insightful texts. It offers background on the collection strategy, has an introductory chapter on the collection itself by none other than Beatriz Chadour-Sampson, and gives ample explanations with every piece of jewellery featured.

The Fascination of Jewellery: 7,000 years of jewellery art

You will love this exhibition for the quality of its jewellery, offered to a wide public through easily digestible texts and themes. Wandering across the beautifully lit and designed showcases, you will get a great introduction into European jewellery throughout the ages. The catalogue that goes with the exhibition is a must if you work with European jewellery in any capacity! And even though I would have let this spectacular jewellery collection be the inspiration for a different type of exhibition myself, I had a great time – and I’m convinced you will, too.

The Fascination of Jewellery. 7,000 years of jewellery at the MAKK.

I visited the exhibition on my own initiative on Dec 28th, 2024, and purchased the catalogue myself.

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The Fascination of Jewellery: references

[1] Focal points as mentioned on the website of the museum, accessed January 1st, 2025.

[2] As explained in the catalogue, p. 14/15.

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

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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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