Amazigh fibulas of North Africa

Dress and jewellery

Amazigh fibulas of North Africa: jewellery and identity

Published June 24, 2025

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

What are Amazigh fibulas? Use, names & regional styles

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

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

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

A silver and enamel fibula from the Tiznit region, Morocco

A selection of beautiful silver fibulas from the Maghreb, against a brilliant blue background.

What is the correct term for Amazigh fibulas?

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

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

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

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

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

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

2. The ring: a circular or penannular ring;

3. The pin itself.

These elements are visible in the illustration above.

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

How do you actually fasten a fibula…?

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

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

Amazigh fibulas and dress

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

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

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

How fibulas reflect Amazigh identity

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

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

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

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

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

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

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

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

Amazigh fibulas today: living heritage & revival

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

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

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

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

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

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

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

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

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

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

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

Silver grooming sets from Afghanistan: everyday tools with many meanings

by dr. Sigrid van Roode | Objects

Vanity and faith

Silver grooming sets from Afghanistan: everyday tools with many meanings

Published May 27, 2025

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

Silver grooming tools from Afghanistan and cultural traditions

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

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

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

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

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

A vintage silver toothpick from Afghanistan against a black background. The toothpick is decorated with red, green and blue glass. Below the image is a caption, clearly listing the photo credentials. The caption reads: Silver toothpick from Afghanistan. Collection Qilada Foundation. Photo by Sigrid van Roode'.

Spiritual and protective roles of Afghan silver grooming sets

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

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

But…that is also where the dilemma is.

The dilemma of beauty and the Evil Eye

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

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

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

How to reconcile these two points of view?

From grooming tools to Afghan silver jewellery and amulets

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

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

Why Afghan silver grooming sets matter: context is everything

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

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

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

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

[2] Idem, p. 180.

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

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Mermaid imagery in Egyptian amulets: protection & meaning

by dr. Sigrid van Roode | Magic & Amulets

Water spirits

Mermaid imagery in Egyptian amulets: protection & meaning

Updated September 14, 2025

The terrifying truth behind mermaid imagery! At the end of the 19^th century, silver amulets with images of mermaids were widely available in Egypt’s jewellery souks. In Egyptian folklore, water spirits and protective amulets went hand in hand: images of mermaids were believed to guard against illness, child mortality, and misfortune. Their blend of folklore, protection, and jewellery makes mermaid imagery on amulets especially fascinating. Why were these so popular, and what world hides behind the use of these things?

Water spirits, the Nile, and mermaid beliefs in Egyptian folklore

Obviously, the Nile has always been a defining factor for Egypt. It’s a bit of a cliché, but Egypt would not exist without the river. Up until the construction of the Aswan Dam in 1902, Egypt was dependent upon the yearly flooding of the river to deposit fertile soil on the banks of the Nile, and much of daily life on the river banks was connected to it. This vital significance has resulted in many gods, water spirits, ceremonies and rituals being associated with the Nile from Pharaonic times up until the present.

There are tons of water spirits in both ancient and contemporary folklore tales, and in this article, I’d like to zoom in on the mermaids. Because these are not as friendly and pretty as their depictions would have you believe!

Disease, child mortality and mermaid amulets

As early as 1916, Meyerhof brings up that water spirits are much feared as a source of disease. [1] You only need to look at the reality of Nile floodings to see how much truth there is in this statement: although the flood deposited much-needed soil for agriculture, when the water slowly withdrew, pools of stagnant water with rotting plants were an ideal environment for rats, mosquitoes and other creatures that spread disease.

And that is where the mermaids come in. This same author lists the mermaid Safīna right along with the Qarina in the category of female ‘demons’. Specifically, he notes that she is, again much like the Qarina, responsible for harm brought upon children.

This fear of mermaids killing children was very persistent in Cairo. Drieskens even records recent Cairene belief in a mermaid living in the Nile, determined to kill people: the negative associations attached to the mermaid apparently still linger.[2]

That fear was based both in drowning, and in disease: water-borne diseases such as salmonella, cholera, typhoid fever and parasitic infections affected children under the age of 5 signifcantly. [3]

As with anything that threatens children, here again reverse magic is practiced, too: mermaids were also assumed to help in cases of infertility – if they felt like it. Water spirits are extremely capricious, and can’t really be trusted.

The same ambivalence and connection to fertility beliefs can be seen in Nigerian river spirit Mami Wata and Moroccan water spirit Lalla Aicha Bahriya.

Mermaid imagery on Egyptian silver amulets: form, function, symbol

So, what about those amulets? At the end of the 19^th and early 20^th century, mermaid imagery often occurred on amulets. These were made in silver, readily available and were meant to protect the wearer from Safīna. [4] The mermaid amulets exist in various forms: embossed, pear-shaped amulets with a mermaid, the image of a mermaid engraved in a pendant, or as appliques to be sewn on to clothing.

Most of the time, the mermaids are depicted as we know them: a female with the tail of a fish. They are adorned with jewellery, hold lotus flowers or papyrus stalks, and look much friendlier than they are. That is also a form of magic: by depicting these scary creatures as beautiful and friendly, perhaps they would turn into benign beings….there’s always hope!

But: not all of them look pleasant. A few early pendants show mermaids with bald heads, or only a few strands of hair. They look considerably more terrifying in comparison to the well-coiffed mermaids that form the majority of the amulets.

Visualizing water spirits: mermaid amulets as reflection of everyday Egyptian life

The appearance of mermaid imagery in Egyptian amulets is more than a decorative flourish. It reflects a wider system of folk belief, protection, and everyday symbolism. The whimsical and volatile nature of the river spirits mirrors the realities of living with a river that has the power to nurture, but also to kill.

And when you look at amulets as a reflection of that everyday reality, this is where the true stories begin to unfold themselves. These amulets gave visible form to concerns about disease, fertility, and the dangers of the Nile: a simple silver piece of jewellery with a mermaid engraving carried with it a whole world of meaning — at once amulet, ornament, and expression of belief. I think that is the greatest power they have!

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!

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

References

[1] Meyerhof 1916, p. 317-318 (and see also p. 314)

[2] Drieskens 2008, p. 102

[3] El-Kowrany, S. et al. 2016. See the article here: https://www.sciencedirect.com/science/article/pii/S2090123215001137

[4] Meyerhof 1916, p. 319.

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Jewellery and Ramadan

by dr. Sigrid van Roode | 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!

—

Find out more about the histories behind jewellery in the e-courses!

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

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

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.

Discover more on jewellery today!

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

What is an amulet in jewellery? Meaning and tradition

by dr. Sigrid van Roode | 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!

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!

—

Find out more about the symbolism of jewellery in the e-courses!

More posts on amulets, charms and magic? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

Discover more on jewellery today!

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:

The Bedouin Silver Jewellery Blog: Sigrid van Roode

« Older Entries

Next Entries »