15 reasons why provenance matters for ethnic jewellery

15 reasons why provenance matters for ethnic jewellery

by | Tips for collectors

Provenance and research

15 reasons why provenance matters for ethnic jewellery

Published Feb 12, 2024

When you have been reading this blog for a while, you know that the topic of provenance for ethnic jewellery pops up every now and then. It gives some people the heebie-jeebies, others are outright annoyed this word keeps crossing their path, and others again never gave it much thought and wonder what the fuss is all about. Here are 15 reasons why paying attention to provenance is a really good idea!

Provenance: what is it again?

Provenance is like the story of a piece of jewellery. It tells us where it comes from, who owned it before, and how it got to where it is now. It’s a way to know the history of the jewellery, like a family tree for things.

This can be important because it helps us understand its value, make sure it’s real, and sometimes, it’s needed for legal or museum reasons. So, when you hear about the provenance of a piece, it’s like hearing its life story and all the places it has been. Or, when you’re more into detective TV-shows: the chain of evidence.

It may take the form of receipts, entries into a diary or purchase ledger, photographs with a jewel in it, your own notes on what a seller shared with you…anything that may serve as proof of the story of your jewellery.

Why does provenance matter for ethnic jewellery?

I mean, let’s be honest for a minute: we all have seen enough heist-movies to understand that provenance is very relevant when it comes to a Rembrandt or Picasso, or the big diamond necklace from some royal or celebrity.

For looted art, we also get it. No peddling stolen cultural heritage. Makes total sense.

But ethnic jewellery..? That was available by the kilo in the 1960s. It would have been melted down if not for collectors, (both foreign and local!), and receipts were not exactly provided.

And what is more: it is still being offered for sale in the countries of origin. Why on earth would anyone care about proper provenance now?

In my view, provenance is not just about legal acquisition (although that definitely plays a role, too). In provenance discussions, the emphasis is often on illegal trade. And that is what annoys people to a point where they’d rather avoid the topic altogether. I totally get that. But there is more to provenance, and so I’d like to step away from the whole legal/illegal vibe and focus on something else entirely.

Or better, make that two things.

First, the world is changing – the 1960s are 80 years away from us. Traditional jewellery is taking on a new role for the cultures that it comes from. It is increasingly valued as heritage, displayed in museums, and part of a country’s identity.

And second: for ethnic jewellery, provenance is far more about safeguarding knowledge about heritage. Provenance is super important for research purposes!

15 reasons why documenting provenance is a really good idea

Here is a list of reasons I could think of, varying from research to appraisal to personal – and yes, I even included a few legal reasons why caring about provenance is a really good idea.

1 – Cultural significance. Provenance is crucial as it provides insight into the cultural context of the vintage ethnic jewellery. Knowing where a piece comes from exactly, ensures that it does not end up orphaned and detached from its cultural context. Take it from me: I just spent years of my life figuring out what Egyptian zar jewellery is, and much of that research was devoted to piecing together the exact provenance of pieces that are now with collectors and museums.

2 – Preservation of heritage Of course, the focus on provenance is also about protecting cultural heritage. It aims to prevent the trafficking and illegal trade of artworks that might have been taken from their places of origin under questionable circumstances. Read more on how that may affect ethnic jewellery in the future here.

3 – Research value Very important: secure provenance of vintage ethnic jewellery is a great help in jewellery research. It provides insights into the evolution of styles, techniques, and materials used, and it also may help to understand its function and use.

Documenting the journey and origin of traditional jewellery, even when purchased in bulk, shines a light on the social, economic, and cultural conditions of the time. Proper provenance can be a make-or-break factor in our knowledge about jewellery, and about the cultures that it comes from.

That research I mentioned under reason no. 1 allowed me to understand why jewellery became available on the market when it did, and what its changing importance for its wearers was. Without provenance, that jewellery would just be a random pile of things.

Moving on from research to trade: provenance is important for the jewellery market as a whole, too.

4 – Market credibility. Emphasizing provenance contributes to the overall credibility of the market. A transparent and well-documented history of a piece of jewellery adds value and trust to the entire industry, benefiting both buyers and sellers.

5 – Market value. Knowing the provenance of your pieces can contribute to their market value. As the market begins to place more emphasis on transparency and traceability, having a documented history can make your collection more appealing to potential buyers or institutions. This is already a visibly growing practice in the ethnographical world, where tribal art is offered with a clear provenance.

6 – Ethical sourcing. There’s a growing awareness of ethical considerations in the jewellery and ethnography world in general. Provenance helps ensure that jewellery has been sourced and traded ethically, aligning with contemporary values and expectations.

7 – Authenticity assurance. Knowing the provenance helps in ensuring the authenticity of the jewellery. While you may have bought pieces you love, having a well-documented history can assure you and others that what you own is genuine and not a counterfeit. In an era where forgeries are becoming more sophisticated, provenance acts as a safeguard. Mind you, fakes are as old as humanity itself – it’s never a definitive assurance, but it sure helps!

8 – Investment value. For collectors looking at jewellery as an investment, a strong provenance can enhance the security of that investment. It provides a comprehensive history that can be crucial for future sales or transfers. As the art world evolves, a well-documented history becomes increasingly important, ensuring that your pieces retain their value and relevance over time.

9 – Age verification. Provenance serves as a means of verifying the age of vintage jewellery, allowing collectors to accurately assess its historical significance. It is another tool in your toolbox to avoid getting duped.

This is also a really important factor in jewellery research: if I can be certain that a particular style or type existed at a given period, this will help me place those jewels in their cultural context.

But that is me: what about you? What can proper provenance bring you, personally?

10 – Family legacy. Provenance is vital for those who wish to pass down jewellery as a family legacy. It provides a documented history for future generations, and it is these generations that may be needing sound provenance. When combined with your own family history, the provenance of a piece may include photo-albums, diaries, memories…the life of your jewellery becomes entwined with your own. Its history is as much your history, and the most heartbreaking conversations I have are with heirs who had no idea of this part of their parent’s lives – and now can no longer ask.

11 – Insurance coverage. Switching to the cold-hearted reasons: provenance is often required by insurance companies to assess the value of your collection accurately. While you may not be concerned about selling, having proper documentation can ensure that your pieces are adequately insured against loss, damage, or theft. In other words: keep those receipts, even if it’s only for your insurance coverage!

12 – Legal considerations. Provenance documentation is increasingly becoming a legal requirement, especially when dealing with the sale or transfer of valuable items. While it might seem burdensome, having a record of your purchases can protect you from legal issues and ensure compliance with evolving regulations. These are in more detail:

13 – Ownership verification. Provenance serves as a means of verifying ownership, a crucial aspect when transferring jewellery to museums or other institutions. It helps confirm that the seller has legal rights to the item and can transfer ownership without legal complications. This is actually a thing: if you’d like to make a donation, the receiving party will want to ensure you are actually entitled to do so.

14 – Legal transfer to heirs or institutions. If you plan to pass your collection on to heirs or donate it to institutions in the future, having a clear provenance makes the transition smoother. It helps your beneficiaries understand the value and significance of each piece, and it helps prevent disputes or legal challenges among heirs or between the donor and the receiving institution.

15 – Museum acquisition policies. Many museums have strict acquisition policies that mandate a clear provenance for any item they accept. By meeting these standards, your pieces may become more attractive to potential buyers or institutions, expanding the reach and influence of your collection. Here is a roadmap to help you get started with donating your collection.

Why should you care for provenance as a business?

While it might feel like an extra layer of scrutiny, emphasizing provenance is not meant to hurt anyone’s business. It revolves around transparency and accountability. It is, in essence, a collective effort to elevate standards, protect cultural heritage, and safeguard the knowledge still attached to jewellery, before it has completely vanished.

Why should you care for provenance as a collector?

Documenting provenance may seem like a lot of effort, especially for collectors who just want to enjoy the pieces they’ve acquired over the years without the hassle of documentation. However, as I have outlined above, there are several important reasons why provenance is gaining attention, even for items purchased decades ago without receipts.

Provenance: anything I can do…?

After working your way through this list, you may be thinking: I don’t really see how this affects me. The thing is, it may not be relevant now, but it certainly will be in the near future. Whether we like it or not, the emphasis on provenance is growing stronger.

And I would not be devoting this much blog space to it if I felt it was a minor matter. I believe establishing and documenting provenance is incredibly important, not because of the legal/illegal angle, but because of everything we stand to lose. There is a wealth of heritage, culture and history in your jewellery that deserves to be preserved, and provenance is one of the factors that helps do just that.

So even if there is just one among the 15 reasons above that speaks to you, now is the perfect time to get organized!

I created a guide for you with clear, actionable steps that you can start with today. Find it here: every little note you make today, helps preventing this beautiful aspect of a culture from getting extinct. Thank you!

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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.

Djerba gilded pendants

Djerba gilded pendants

by | Objects

Tunisian jewellery

Gilded and enameled pendants from Djerba

Published Feb 07, 2024

A selection of pendants from Tunisia, that show how jewellery may be reflecting the world of its wearers in its design. These illustrate the relation you might not think of immediately: that between jewellery, and architecture.

A set of Djerba pendants

In the gallery above, you’ll see a series of photos of a collection of square pendants. They were collected in Sousse, Tunisia, and clicking on the images will enlarge them, so you can take in their gorgeous details.

What do we know of these? All of them are made of silver. The majority have been gilded, and some are finely embellished with enamel. Enameling is characteristic of jewellery from Djerba: according to Gargouri-Sethom the art of enameling almost disappeared after the second World War, when many Jewish craftspeople moved to Israel. [1]

These pendants would be worn in sets of five, on a necklace with coral and lapis lazuli beads strung on woolen cord. The ensemble is called malāb (sometimes also spelled malaab) and was worn in Djerba, Tunisia. [2] A red fabric backing makes the design stand out even more: in an original stringing, it would match the red woolen cord.

Djerba necklace: reading the design

That design is after the mihrab or prayer niche. [3] This is the niche in every mosque that indicates the direction of Mecca. That is the direction that is prayed in, so this is a primary architectural element. It is often beautifully ornamented. Including it in jewellery brings the necklace and its wearer into the realm of faith and religion.

And there are more elements that serve to enhance its meaning. As you see (click on an image to enlarge it), each pendant repeats the mihrab motif three times, and has three dangles.

The presence of five of these on the necklace is also significant: it refers to the 5 daily prayers and the 5 pillars of Islam. ⁠The deliberate inclusion of the number five is another form of wearing a khamsa.

See why a khamsa does not always have to be in the shape of a hand here.

The red fabric and woolen cord also help keep evil at a distance: the colour red has been used as primary colour to fight evil for millennia.

Djerba pendants: the value of collecting

As you see, these are all different, even if ever so slightly: their collectors loved the shapes and collected them for their differences, not to complete a set.⁠ That is another angle of collecting than striving for completion and perfection: the choices you make as a collector have an impact on what a collection is going to look like.

So, these may not contain a complete set, but they certainly do hold information value. They showcase the variety and the skill of the craftsmen that made these, and in that way this collection adds to our understanding of Tunisian jewellery beautifully.⁠

And they also tell us what happened to these necklaces. Eventually they were broken up and their beautiful coral and lapis lazuli beads sold individually. The pendants have been sold separately as well for a long time, and found their way into the available literature as such, too. [4]

So you see, even loose bits and pieces may contribute to the history of its wearers!

These pendants are in the Van Dam-Canton Tunisian heritage collection of the Qilada Foundation.⁠

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References

[1] S. Gargouri-Sethom1986, Le Bijou Traditionnel en Tunisie, Edisud, p. 50.

[2] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat, p. 124.

[3] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat p. 124;  Les Bijoux de Tunisie, Dunes Editions, p. 146.

[4] Les Bijoux de Tunisie, Dunes Editions, p. 152 also shows individual, different pendants as collected items.

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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].

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.

Quick guide: how do amulet cases open?

Quick guide: how do amulet cases open?

by | Magic & Amulets

Islamic amulet containers

Quick guide: how do amulet cases open?

Published Feb 05, 2024

Amulet cases look straightforward at first glance – until you try to open one. Across North Africa and Southwest Asia, silver containers called hirz were made to hold folded texts or small protective items, and their opening mechanisms can be surprisingly diverse. Some use a slider lid, others a hinged cap, and a few hide the opening in the decoration. In this post, part of my series on amulets in jewellery, I’ll walk you through the most common constructions, what the exterior hardware can tell you, and why – sometimes – the most responsible choice is not to open an amulet case at all.

How amulet cases open

Before you dive in: this article shows the three main types of silver amulet cases and their historic development. It may be useful to scroll through this one again to refresh your memory. So, let’s see how these open!

Amulet case type 1: how to open tubular amulet cases

These invariably open on the side. One of the caps at the end functions as the lid. This is clearly visible with the Yemeni container shown above (click to enlarge the photos).

Often, you may find the opening cap integrated into the chainwork, as shown above with the Egyptian cases, or sporting a suspension loop of its own as in the container from Iran.

This is an extra failsafe in case the container opens: the cap would still be attached to the chain.

Amulet case type 2: how to open slim rectangular, square and triangular amulet cases

These may open in two different ways: using a sliding mechanism on one of the sides or its top, or by removing the cap on either side.

The triangular case from Egypt, shown above, has a sliding lid that opens by pulling the upper suspension loop (the one on top)

Amulet case type 3: how to open larger amulet boxes

These usually have a lid that can be removed, much like a locket. The hinge often doubles as suspension loop.

Spendid silver fibula set from Algeria
A stunning silver and coral necklace from Yemen.

Closed amulet cases: containers that cannot be opened

Not all amulet containers can be opened. That may be because the cap or lid has been welded shut, and I would advise to leave it that way. We’re not supposed to see what’s inside.

But a much more common reason is that many of the designs were created without an opening in the first place. That is for example the case with the jewellery shown above. All of these carry amulet cases in one form or another, and none of these can be opened. The Tunisian pendant is even designed as a bead in the shape of a cylindrical amulet case: the chain runs right through it.

Their shape associates them with their presumed contents: it’s not so much ‘form follows function’, but rather ‘form takes over function’.

How to spot if and where an amulet container opens

Observe the construction of your amulet container very closely. Look for seams, edges or lines that suggest a point of separation. This can be a thin line around the edges that the other end does not have, or a small gap. If the amulet is firmly closed, this may be nearly impossible to spot.

Sliding mechanisms usually have either small ridges or grooves, or tiny protrusions (and that could be the suspension loop from which the pendant itself hangs). Both serve to facilitate the sliding.

Hinges are usually visible: here as well, look for any seams or gaps that may indicate the lid is openable.

Should you open amulet containers….?

If you decide to inspect your amulet containers for opening mechanisms, I’d advise to do so very carefully. Avoid the use of excessive force to pry them open, as vintage to antique objects damage easily. If the lid is jammed, welded shut or stuck otherwise, leave it be.

I’d also advise to consider the reasons for opening an amulet container. When you’re studying its contents, it may contribute a great deal to our understanding of the culture the wearer comes from. But afterwards, perhaps it would be best to put its contents back inside.

Its contents were not meant to be seen by anyone but the wearer, so from that point of view, it would be a sign of respect not to open them, or at least to keep their contents private. Whatever is inside, it once made someone feel secure and safe – a feeling we can easily honour.

Conclusion: function before ornament

Understanding how an amulet case opens starts with recognising its function. The lid, loops, and cord channels were designed to protect contents that mattered—texts, blessings, and personal safeguards. For collectors and curators, that means reading the object before handling it: identify the mechanism, note weaknesses, and consider the ethical and conservation implications. In many cases, the amulet’s meaning is preserved best by leaving it closed. These are objects of belief first and ornament second, and their construction tells that story clearly.

Frequently Asked Questions about amulet cases

Why do some amulet cases refuse to open?
Many were closed tightly to protect the contents. Old repairs, corrosion, or grit in slider grooves can also jam the mechanism.

What types of openings do amulet cases use?
The most common are slider lids (a sleeve pushed along a track), hinged caps with tiny pins, and end caps that twist or pull.

How can I tell where the opening is?
Look for joins in the metal, a slightly raised track for sliders, or a small pin at one end for hinges. Cord channels are not openings.

Is it safe to open an amulet case?
Often no. Contents can be fragile paper or organic material; forcing a mechanism risks damage. When in doubt, consult a conservator.

What might be inside an amulet case?
Folded or rolled text (prayer, verse, numbers), tiny written charms, or occasionally small inclusions like threads or beads.

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

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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.

How to spot alterations

How to spot alterations

by | Tips for collectors

5 practical tips

How to spot alterations of ethnic jewellery

Published Feb 2, 2024

Jewellery has multiple lives. That is what I find so fascinating: it shows traces of earlier lives, other wearers, the choices they made, the changing fashions they appreciated. And during its long existence, it may have been altered. But when is that regular use, and when is it turning into deception…?

Alterations to ethnic jewellery: cultural context

As I have written before, altering jewellery is standard practice – up to a certain point. That is because it served many purposes, including that of financial asset. The financial value of jewellery means it was treated differently than we would do today, and in order to read the traces of these alterations, we need to be aware of their cultural context.

I’ll go over several types of alterations next, and discuss whether these are to be expected, or that they have been willfully applied to entice a buyer.

Alterations to ethnic jewellery: repairs

Repairs are part of the normal life cycle of jewellery. Imagine wearing a bracelet or necklace every single day: chances are you’ll bump into something, a thread may snap, a stone may fall out.

This is then repaired, and sometimes, those repairs are visible. The Yemeni bracelet in the gallery above has a repair, and the copper pin is a replacement. The repair itself has worn smooth: it is an old repair and the bracelet has been worn for a long time afterwards. The Nubian bracelet in the centre has a tear, that has been fixed.

Pins in closures or hinges of a bracelet are replaced often: if a closing pin is not attached to the bracelet itself by means of a security chain, odds are that at some point it will fall out or go missing otherwise.

Stones may also disappear from their settings and get replaced: the detail of a Kabyle necklace in the gallery above, on the right, shows a replacement coral in a setting that was created for a much larger cabochon. Click to enlarge the photo and look at the coral in the star-shaped pendant: see how there is space between the prongs of the setting and the coral itself?

Alterations to ethnic jewellery: traces of economy

Jewellery represented financial value in its amount of precious metal. When you would be needing cash, pieces of jewellery could be sold. And that could also be, quite literally, a piece of an existing jewellery item.

An example are the pendants you see above. These were worn in Siwa Oasis, but also in Libya and Tunisia. The upper right one (click the image to enlarge it) has one of its tips broken off. Nowadays, you will be told that this was to celebrate the birth of a son. Nothing could be further from the truth: these tips were likely broken off when the wearer needed money. [1]

Another example are the bracelets from Nubia. The single bracelet shows clear signs it has been removed: likely, this has been done when part of a bracelet, such as shown next to it, was exchanged for money.

These alterations are also part of the regular life cycle of jewellery.

Altering ethnic jewellery: repurposing

It gets interesting when pieces of jewellery are being repurposed, because their original use is starting to fade. Hair ornaments, for example, were turned into necklaces when the elaborate hairstyling of a culture disappeared. An example of this practice are the hair ornaments from Oman, which have been repurposed into necklaces as I describe here.

The same goes for temporal pendants, like the pair shown above, and large earrings: these are now often sold as bracelets.

And a particular example is the pair of zar ornaments from Egypt, shown above. When you click to enlarge them, you will see that their engraving has literally been cut in half. These were zar pendants, used in the zar ritual, until they became obsolete. They were then turned into earrings, aimed for sale at tourists.

And that is where the regular life cycle of jewellery in its original culture starts to morph into alterations aimed at selling pieces at cultural outsiders.

From the point of view of its original culture, adapting jewellery in order to sell it to a new market still falls under its financial purpose. What use is perfectly good silver lying about when you’re in need of money? Selling it is the logical thing to do, and if altering it aids in reaching that goal, altered it will be! I would do the same.

But for the buyer on the receiving end, here is where it becomes important to be aware that this jewellery has been changed to suit your needs – it would not have been worn as such in its original culture.

Alterations to ethnic jewellery: composite pieces

This is where we move into alterations that have been carried out specifically to make a piece presentable again. Dangles are added, or new compositions are created out of old elements.

An example is the Kabyle brooch shown above. Click to enlarge it, and have a good look at the dangles. They are different in their colour scheme from the main the body of the brooch: the turquoise colour and the orange-yellow are only present in the dangles. The brooch itself has imitation coral, but the central dangle has real coral. They do not match.

These dangles likely come from a post-1962 necklace (see more about those here) and have been added to complete a brooch that has lost its own.

This is a straightforward addition to complete an incomplete piece, but there are far wilder composite pieces out there. Flexible bracelets joined together to form a necklace, caps embellished with just about anything lying around in a workshop presented as ‘headdress’, beaded necklaces with random pieces from another culture strung in….a truly composite is known as a chimera, after the mythical beast, or a pastiche.

A stunning silver and coral necklace from Yemen.

5 tips how to spot alterations to ethnic jewellery

So, how to spot alterations and interpret them in their correct cultural context? Here are some tips.

1 – Examine individual components.

Analyze each component of the jewellery individually. Components such as dangles, pendants, finial beads, and temporal pendants should match in terms of size, design, and style. Notice any differences in these components? That may indicate alterations or modifications, as the original silversmith would have taken great pride in the design.

An example is the Yemeni necklace above. Click to enlarge it, and inspect the finials and central pendant. Their design does not match: the finials are from a different necklace. The closure is an alteration, too.

2 – Check for consistency.

Assess the overall consistency of the jewellery. Original pieces are designed to be cohesive, with elements complementing each other seamlessly. Inconsistencies in design, colour, or materials may suggest alterations.

3 – Evaluate wear and tear.

Examine the wear and tear patterns on the jewellery. Original components that have been worn together for an extended period should exhibit similar signs of use. See for an example of two pieces that moved in sync for a lifetime this article. Altered or replaced components may show variations in wear compared to the original parts. An example of such variations can be seen in this article on restrung necklaces.

4 – Consider provenance and documentation.

Yesss, there we are again! Examine any available documentation or provenance associated with the jewellery. Historical records, photographs, or detailed descriptions can offer clues about the original state of the jewellery. That is also why ‘before and after’ photos of any restorations are so incredibly important: they keep track of changes.

5 – Use scientific techniques.

Ok, this is not a possibility for everyone: I’ll be honest, this is something more suited for museums. If feasible, consider scientific techniques such as X-ray analysis or material testing such as XRF. These methods can reveal hidden layers, alterations, or substitutions that may not be visible through visual inspection alone.

What do I need to spot alterations?

…no, you don’t need to set up a lab in your living room! But, fair warning, what you will be needing is something much more superhuman.

First of all, you need to be aware of general designs, shapes, decorations etc. to spot alterations. It always boils down to knowing what you’re looking at. It also never hurts to ask experts for advice, or to look up a book or two. That’s not the difficult part, though. The difficult part comes next.

Far more important is time. Do not be in a hurry or feel pressured to buy. This is the superhuman part: take your time to observe a piece in detail and look really, really well. Patience is a virtue, also when it comes to buying jewellery. We all know that rush of excitement and the desire to purchase, but it is during the ‘buying fever’ that you will overlook the smaller details. (if it’s any consolation, it still happens to me, too!)

On a side note, this is also why those layers of dirt on jewellery are anything but authentic and original: they obscure the details you’ll want to be looking for.

Alterations of ethnic jewellery: a bad thing?

I’d say it very much depends on which stage in their life the alterations were made. In general, they’re part of life. Repairs and repurposing are part of an object’s life and make sense in its cultural context. They also allow us to reconstruct that life, and as such these alterations can be a powerful historic source.

It’s when the alterations start to take place outside of this cultural context, and moreover, when they are being presented to you as authentic, that it matters a great deal.

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References

[1] M.M. Vale 2011. Sand and Silver discusses this. She knows. She talked with actual Siwan women about this and I am in awe of her myth-busting skills!

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.

How ChatGPT spins jewels

How ChatGPT spins jewels

by | Opinion

AI and jewellery research

How ChatGPT spins our view on jewellery

Published Jan 22, 2024

ChatGPT, it seems to be everywhere. But what does it know about ethnic jewellery? Is it of any use for jewellery research? I asked it a few things and this is what happened.

ChatGPT: what is it again?

In case you missed it, ChatGPT is a form of artificial intelligence (AI). It gets its information from online sources and processes information up until 2021. So basically, what is does, is it Googles faster than you and I ever could, and reshuffles what it found into an acceptable looking text – in just about as much time as it takes to read this paragraph.

Given the time it takes to do proper research (see 5 oldschool ways I use myself here), and the time it takes to write a blog post, I wanted to know what it would produce if I asked it to come up with text on ethnic jewellery. You don’t need a degree in psychology to see the underlying reason – it all boils down to every researcher’s concern: ‘Am I superfluous…?’

Putting ChatGPT to the jewellery test: an academic question

So, I started out big. I fearlessly asked it about the topic of my PhD-research: Egyptian zar-jewellery. That’s a major test of my steely nerves: what if a superbrain with access to everything published online smashes my thesis in seconds? I gave it a rather general prompt: ‘Can you tell me about Egyptian zar-jewellery in 100 words?’

It came back with this:

Egyptian zar jewelry is integral to the zar ritual, a traditional healing and spiritual practice. In this ceremony, participants seek to connect with spirits for various afflictions. The vibrant and intricate zar jewelry, made with silver, beads, and semi-precious stones, is worn during these rituals. Beyond its ritualistic role, the adornments have gained global recognition for their artistic and cultural value. Collectors appreciate the unique aesthetics, highlighting the enduring influence of Egyptian zar traditions on contemporary art and design.

Well, ok. That looks like a coherent answer. Looks like, but isn’t.

It starts off with actual zar, but them quickly turns into a rather general description. Especially in the second part, you could just leave out ‘zar’ and the text would be applicable to any and all jewellery. Also notice the abundance of adjectives: vibrant, intricate, global, unique, enduring…

One thing is clear: ChatpGPT, bless its bytes, has no idea what zar jewellery is. But it has been asked to produce 100 words on the topic, so it does. This is called hallucinating: if it does not find matching info online, it starts presenting text that looks good, but has no direct bearing on the topic (or may even be completely and utterly off the mark).

Putting ChatGPT to the jewellery test: headlines and titles

Content creators ask ChatGPT not necessarily to write their entire content, but use it for inspiration, too. And one thing for which inspiration comes in really handy, is creating titles. Had to try, of course! Here’s how that went.

Me: ‘I wrote a blog with tips on how to clean ethnic jewellery from the Middle East. Can you give me 5 engaging titles that will make my audience want to read the blog? Use maximum 10 words per title.’

ChatGPT:

  1. “Unlock the Secrets: Cleaning Middle Eastern Treasures at Home!”
  2. “Shine On: Revive Your Ethnic Jewelry’s Radiance with Easy Tips!”
  3. “Timeless Brilliance: Discover Proven Hacks to Clean Middle East Jewelry!”
  4. “Preserve History: How to Care for Your Exquisite Middle Eastern Gems!”
  5.  “Sparkling Stories: Unveil the Magic of Cleaning Middle East Jewelry!”

I don’t know about you, but these are not titles I’d dare to serve you. They totally make me cringe. (if you think otherwise, I’d love to hear that, by the way!) It’s too much. All those exclamation marks, the cheesy wordplay, the secrets, the unveiling….It’s just not me.

The blog post in question, boringly called ‘How to clean ethnic silver’ until I come up with something else, is here. In case you simply must read it after seeing these captivating headlines.

ChatGPT: the importance of phrasing

Maybe my choice of words was not the best. So, I asked it for a blog post idea on vintage jewellery of North Africa and Southwest Asia (so no ethnic, no Middle East). It came back with ‘Hidden Gems: Unearthing Rare Vintage Jewelry Finds in Souks and Bazaars’.

Hm. Again, on the sensationalist side with a dash of Orientalism.

Out of curiosity (did I mention ChatGPT is quite fascinating, and it may even get a little addictive?) I asked it for an outline of this blog idea: what would it suggest I’d be writing about?

Here, I was positively surprised. Yes, it did come up with Orientalist content again, such as ‘an overview of the enchanting souks and bazaars’, followed by ‘the fascination of souk and bazaar shopping’ and ‘stories of hidden treasures’.

But the next building block was ‘promoting ethical sourcing and fair trade practices’ and ‘encouraging collectors to contribute to the documentation of cultural stories behind each piece’.

High five to the screen! Have you been listening to me, ChatGPT?? Are you hearing me? Because if you have been following this blog for a while, you know that the future of jewellery concerns me just as much as its past, and it’s nice to see that acknowledged. Even if it’s by a superchatbot.

ChatGPT on jewellery content suggestions

Encouraged, I asked it to come up with more blog post ideas or content suggestions. Let’s see what ChatGPT feels I should be serving you next!

Me: ‘Can you give me 5 blog post ideas that collectors of ethnic jewellery from the Middle East will find interesting?’

ChatGPT:

  • The Allure of Middle Eastern Jewelry – Uh, what does that even mean?
  • Unveiling the Symbolism: Meanings Behind Middle Eastern Jewelry Designs – Got that. It’s all here.
  • The Essence of Identity: Unveiling the Significance of Ethnic Jewelry – Also got that. It’s all here. And a bit here.
  • Beyond the Veil: Craftsmanship and Cultural Heritage – What should this be? On silversmithing and craftsmanship, I think?
  • Collector’s Corner: Tips for Building a Middle Eastern Jewelry Collection – Great, got that, too. It’s literally presented here.

So, three of the five ideas are already present on this very blog. The other two are a bit vague in their description.

That is because these suggestions are super general: again, replace ‘Middle Eastern Jewelry’ by ‘English Mourning Jewellery’, ‘Scandinavian Woodcarving’ or ‘Wedding Cake’ and the post ideas would still be grammatically correct. Anyone with knowledge of woodcarving or wedding cakes could probably come up with content for these suggestions.

But, a bigger issue jumps from these lines. In three of the five suggestions, it comes up with veiling and unveiling. The 4th suggestion does not even mention jewellery, but associates ‘Middle East’ with ‘veil’. And that brings me to some considerations about content produced using ChatGPT.

ChatGPT reflects our world

As I said above, ChatGPT is an AI which uses online resources. It does not create new content: it reshuffles existing information. It literally parrots our world back to us. And it does so in grammatically correct, good-looking lines. The text it produces looks convincing, but upon closer inspection is often quite general. That is smart for sure, but I would not call it intelligent.

It also repeats existing prejudices. Ask a question about the Middle East? You get Orientalist results, with veiling and secrets and fascinating bazaars and more. Apparently, this is what is out there when it comes to information on jewellery from North Africa and Southwest Asia.

Now the thing is that in recent years, awareness of our choice of words has increased. And where many human authors actively try to stay away from lines that are exoticizing or framing, ChatGPT does the opposite. It is lagging behind: it bases itself on data up until 2021, and as such will always reflect a world view of a couple of years ago.

And the more it is used to produce content, the longer that world view will linger. Combined with good looking, but essentially hollow phrasing, ChatGPT spins our view on jewellery right back into Orientalist mysteries.

Using ChatGPT for jewellery research: are we superfluous?

So, can we use ChatGPT for research into jewellery from North Africa and Southwest Asia? Am I superfluous? As a marketeer, maybe – those headlines are something else.

But as a researcher, I feel our work may be needed even more. ChatGPT is absolutely a very useful tool, but it is just that: a tool. I find it to be helpful in suggesting topics or angles, but it misses a crucial point.

Studying jewellery takes not just gathering and presenting a bunch of facts, but interpreting them. And that interpretation, in turn, definitely needs a human touch. It needs awareness, dialogue and cultural sensitivity. It needs transparency, acknowledging viewpoints of others, and correcting mistakes.

Research is not interpreting in isolation, but listening, learning and sharing together.

So for the foreseeable future, I’ll be typing away oldschool. But keeping an eye on AI developments, because who knows what the future may still bring…!

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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].

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.