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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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

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.

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Henna art: World Heritage

Henna art: World Heritage

by | General jewellery topics

Henna unesco world heritage

Henna: adornment as World Heritage

Published on December 16, 2024

In December 2024, henna was inscribed on the World Heritage List! That is hugely significant, and so it’s time to explore this art form a little more.

What does UNESCO say about henna?

First, let’s have a look at why henna has been promoted to World Heritage. The exact definition is Henna: rituals, aesthetic and social practices. You’ll note that it is far more than just the aesthetic part. In fact, that is only mentioned second, after rituals and followed by social practices. That is hugely significant, as it acknowledges the importance of henna art as a social agent.

The text on the UNESCO website reads:

‘Perceived as sacred by communities in Northern Africa and the Middle East, its leaves are harvested twice a year, left to dry, then ground and processed to create a paste. The specific ingredients and techniques used to prepare the paste vary according to the intended use and country. Henna paste is commonly used by women for adornment, such as to dye hair and fingertips or to decorate hands and feet.

A symbol of joy, it is used in everyday life and on festive occasions such as births and weddings. Henna branches, leaves and paste are also used in crafts and for medicinal purposes, including the treatment of certain skin diseases.

Its use is frequently accompanied by oral expressions such as chants, songs, proverbs and poems, and is linked to centuries-old societal rules and traditions. This includes knowledge related to the cultivation and care of the henna tree and the preparation and application of the paste. Families and communities transmit the traditions through observation and hands-on practice.

Today, organizations, beauty centres, universities and the media also contribute to their transmission. A key component of traditional events, henna rituals enhance social bonds and promote communication.’ [1]

I particularly appreciate that henna here is not just represented as the end product (an adorned something), but that the process itself, from leaves to paste, is part of the World Heritage nomination, too.

Henna as transnational heritage

A second important aspect of this nomination is that it has been proposed to UNESCO by a number of countries. Those are:

Algeria
Saudi Arabia
Bahrain
Egypt
United Arab Emirates
Iraq
Jordan
Kuwait
Morocco
Mauritania
Oman
State of Palestine
Qatar
Sudan
Tunisia
Yemen

That does justice to its transnational use, instead of one country claiming it exclusively. Sadly, this happens regularly with for example jewellery that is traditionally worn by people living on both sides of a modern border – they seem to forget that their heritage is older than that border. Fortunately, the insciption of henna art recognises that it is not the prerogative of one country only!

Henna and its many uses

Henna is used in personal grooming, for example as hair care product. The green powder, ground of its dried leaves, is added to boiling water and worked into a paste that is applied to the hair, left in for some time and rinsed out. Henna not only colours the hair with a warm reddish colour, but also nourishes and adds shine. It is used throughout the Arab world, and has been since Antiquity.

Henna is a key element in wedding proceedings: not just for the bride, but for all female attendees. The use of henna is not limited to weddings alone, but is seen in all festive occasions such as religious holidays.

Quite often henna paste was perfumed as well; Freya Stark described a wedding she attended in the Hadramaut, Yemen, where the women had applied heavily scented henna as hair, facial and body decoration. [2]

Henna was regarded as very efficient against jinn and brought blessing (baraka) to the wearer. This is why we encounter henna not only in a form of paint, but also as actual leaves during the henna event of the wedding proceedings. In certain regions of Morocco, among the gifts presented to the bride, either on her henna or on the day of the marriage itself, would also be a basket with eggs lying in henna leaves: these were believed to bring both fertility and prosperity to the bride as well as the blessing intrinsically present in henna leaves.

The patterns on the skin that are drawn with henna extend much deeper than the surface: they bless, remember stories kept in a collective memory, and connect generations, much the colours and patterns in dress and jewellery. These patterns varied from family to family, as they incorporated oral history.

Henna as an art form is always changing. Patterns are shared within the family, not through pattern books, and so tracing the development of a design or the perfect scented henna mixture is a long process.

That is why it is so important that this aspect of henna art, too, is recognised in the World Heritage nomination!

Henna as a process

What is often described as ‘body decoration’, is actually the many-layered visible and olfactory aspect of a transformative process. The individual components of these paint mixtures carried meaning: a specific colour protected and blessed, the added scents amplified these qualities.

The act of preparing and applying was in itself an intimate transformation ritual, where history, blessing and kinship materialized in colour, scent and designs. This process has also been acknowledged in the nomination file:

Henna farmers and the individuals involved in drying, grinding, and processing henna leaves are perhaps the most prominent group concerned with the element.

Merchants and apothecaries that sell ready-to-use or dried henna are considered bearers of the element. This category also includes women that practice the element by designing henna engravings. The women practicing this craft are known by various names. For example, they are referred to as Neqqasha in Morocco, al hannana in Egypt and Sudan, al mohaniya or al hannaya in the United Arab Emirates, and naggashat al henna in Yemen (and the rest of the submitting states). This category also includes musical troupes that are present during henna ceremonies on various social and religious occasions as well as traditional healers who utilize henna in the treatment of certain diseases.

Furthermore, artisans that use henna wood in making baskets (Egypt and Sudan) and henna leaves in dying wool are also considered concerned groups. [3]

The patterns on the skin went deeper than the surface: they blessed, retold stories kept in a collective memory, and connected generations, as did the colours and patterns in dress and jewellery along with the fragrances added to both. Together, they formed an aesthetic that extended far beyond pleasing the senses.

More about henna

The art of henna encompasses so many cultural and spiritual aspects! In the course on Scents of the Middle East, you’ll learn more about the uses of henna in relation to personal adornment.

Fatima Oulad Thami addresses henna in her research and on her website: have a look here to learn more!

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References for henna art as World Heritage

[1] See the UNESCO inscription here: https://ich.unesco.org/en/RL/henna-rituals-aesthetic-and-social-practices-02116

[2] Stark, F. 1936. The Southern Gates of Arabia. A Journey in the Hadhramaut. John Murray, London (2003 edition), p. 42

[3] See the nomination file, accessible via the link with note 1.

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.

Deir ez-Zor as a jewellery centre

Deir ez-Zor as a jewellery centre

by | Cultures & People, Objects

Jewellery from Syria

Deir ez-Zor as a centre for jewellery

Published on December 16, 2024

You will often find bracelets attributed to Deir ez-Zor, in Syria. Who made these pieces of jewellery, and who purchased them? Just because they have been created in Deir ez-Zor, does not automatically mean they were worn only by Syrian customers – especially not in a time where state boundaries were quite different from today’s situation. In this blog, I’ll explore the silversmiths of Deir ez-Zor and their clients!

Where is Deir ez-Zor?

Deir ez-Zor, also spelled Deir ez-Zur or Deir Azzor, is a town located on the banks of the Euphrates River in eastern Syria. It sits at a cultural and economic crossroads, and has always been a trade hub. Its geographical position connects Mesopotamia, current-day Iraq and Syria, to the Levant. The map below shows where to locate Deir ez-Zor. The town was one of three major hubs for silversmithing, along with Aleppo and Damascus. [1]

Jewellery makers in Deir ez-Zor

The silversmiths of Deir ez-Zor were skilled artisans, often working within family workshops where techniques and designs were passed down through generations. Before the 1930s, most silversmiths were Jewish. [2]

That is a notable difference with Damascus and Aleppo, where the majority of the silversmiths were Christians: in Damascus Catholics and Armenians, and in Aleppo most were Armenians. [3] After the Jewish population moved to the newly created state of Israel at the end of the 1940s, silversmithing was practised by Armenians and Muslims.

The craft dwindled slowly, and by the early 1990s, Johannes Kalter reported that there were only few silversmiths left in Deir ez-Zor. [4]

Niello: Armenian craftmanship in Syria

One of the silverworking traditions that Deir ez-Zor stands out for, is the use of niello. This was most likely introduced by Armenian silversmiths [5] and increased in use after the Armenian genocide, when survivors fled to Syria. The bracelet shown above, with its worn niello decoration, was likely produced in Deir ez-Zor.

These do not necessarily have to be vintage or old: as late as the 1990s, Kalter describes how ‘only the demand from tourists keeps this ancient and sophisticated technique of the silversmiths alive’ [6] – an important distinction to bear in mind. And not only may these bracelets be less than 30 years old, they can be found in a wide area, too.

The wide reach of jewellery from Deir ez-Zor

The primary clientele for Deir ez-Zor’s silver jewellery were local women, for whom jewellery served as both ornamentation and a form of financial security. Women’s jewellery was often given as part of their dowry and could be melted down or sold in times of need.

Bedouin tribes also constituted an important market for silversmiths. Jewellery from Deir ez-Zor was not only prized locally but also traded across Syria and neighbouring regions: traders from Aleppo, Damascus, and Baghdad would acquire pieces from Deir ez-Zor to sell in their own cities.

That means that jewellery created in Deir ez-Zor can be found in a wide area: in Syria itself, but also in Turkey, Iraq, Palestine, Jordan, and Lebanon. And this is where sometimes, it gets confusing.

You will find these bracelets (and indeed other jewellery produced in Deir ez-Zor) often presented as traditional jewellery from Jordan or Iraq – and they are, but not exclusively. Here, modern state boundaries divide cultures that call a shared region home, and categorizing jewellery according to today’s map only effectively erases that shared history.

The jewellers of Deir ez-Zor catered to a pluriform world, and in recognising that, we can do their work and their world more justice!

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References for Deir ez-Zor as a centre for silver jewellery

[1] J. Kalter, M. Pavaloi & M. Zerrnickel 1992, The Arts and Crafts of Syria, Thames & Hudson, p. 76

[2] As stated here: https://craftsofsyria.uvic.ca/deir-ez-zor-silversmiths/

[3] Kalter et al, p. 77

[4] Kalter et al, p. 76, 78

[5] Kalter et al, p. 78

[6] Kalter et al, p. 78 and fig 136 on p. 136, where similar bracelets are shown as contemporary (i.e. 1990s) craftmanship.

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.

Jewellery and the senses: smell

Jewellery and the senses: smell

by | General jewellery topics

Sensory research

Jewellery and the senses: smell

Published on December 13, 2024

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 third article, we’ll look at smell.

Why study jewellery and smell?

Smell is an incredibly powerful sense, even if it is invisible and fleeting. The perfume industry is a multi-billion-dollar industry globally, and just the simple fact that people are willing to pay for the sensation of spritzing themselves with a perfume which will inevitably dissipate, tells you something about that importance. It’s temporary, it does not last… but we do want it.

In North Africa and Southwest Asia in particular, the use of fragrant materials is part of ancient cultural, social, and religious traditions. Understanding this dimension of adornment not only enriches our appreciation of these pieces, but also offers new ways that we may look at jewellery.

So, what is it about the olfactory dimension of jewellery? How may we explore and understand something that has gone…?

Smell: scent and its significance in the Middle East

In North Africa and the Middle East, scent is more than an aesthetic pleasure; it is a vital part of daily life, social customs, and religious practices. Fragrance is considered a means of purification, an enhancer of personal allure, and a medium for spiritual connection.

The Prophet Muhammad himself is said to have cherished perfumes, and the use of scent holds an esteemed place in Islamic tradition. The Qur’an and hadiths mention the value of pleasant aromas, especially in ritual contexts such as prayer and preparation for worship.

Culturally, the importance of fragrance is inseparable from concepts of hospitality and intimacy. Homes in the Arab Peninsula are often infused with bakhoor (incense) to welcome guests, while perfumed oils are applied to skin and hair as acts of personal grooming and, again, devotion. These practices underscore a shared belief that fragrance enhances the human connection—whether between individuals, families, or the divine.

How all this works, is explained in the course on Scents in the Middle East!

Wearing scent: jewellery that smells

Jewellery often incorporates materials and designs intended to diffuse or carry scent. For example, silver amulets and pendants sometimes feature hollow compartments, or small perforated boxes. These are designed to hold scented substances such as musk, ambergris, cotton or wool infused with scented oils, or dried herbs and flowers – anything that smells! These containers allow wearers to carry a personal fragrance throughout the day, linking ornamentation to olfactory meaning.

See the meaning and importance of just one example of such a container in this article

Jewellery like this serves not only as decoration, but also as powerful amulet. The scents are believed to ward off the evil eye, a pervasive belief throughout the region. The protective power of these fragrances complements the talismanic role of the jewellery itself.

Adornment and smell: hair, body and dress

In all these contexts, the use of scent in jewellery is closely tied to other scented elements such as dress, hair, and the body itself. After all, layering perfumes was invented in the Middle East! Hair is often cared for with fragrant oils, or indeed scented paste that worked both as a haircare product and modelling agent. Remnants of these pastes can sometimes be found on hair jewellery, as I explain in more detail here.

Items of clothing can be fragranced by fumigating them with incense, and the body itself is cared for with scented oils and perfumes as well: imagine how jewellery once formed part and parcel of this fragrant aura surrounding the wearer!

Jewellery and smell: scent as a research field

So, how to use the sense of smell in jewellery research? After all, most of it is gone…the only thing that remains may be a layer of drab dark residu, or the visual indication that something may have smelled through its design, for example. There are a few ways to go about this:

Look: Awareness of this invisible capacity is key! When you are aware, or may have an inkling or idea, that cultures used fragrance and attached importance to it, actively look for this possibility, too.

Test: Residues of scented oils, resins, or powders can sometimes be detected through scientific methods. Researchers use techniques like gas chromatography-mass spectrometry (GC-MS) to identify organic compounds and reconstruct the original scent profile of a piece.

Compare: Examining the cultural and historical context of jewellery can provide clues about whether or not fragrance was used. By that I do not mean to simply slap a capacity of one culture onto another: that never works. What I would suggest however, is that by comparing widely, we may keep an open mind as to what possibilities exist.

Ask: Equally often overlooked, but incredibly important: just ask! Interviews with artisans and communities that still produce traditional jewellery, or that remember how a previous generation made use of this capacity, can get you invaluable insights in how scent was integrated into these pieces.

Jewellery and smell: an invisible world of meaning

Understanding the role of scent in jewellery can deepen our appreciation of the cultural significance of these pieces. Collectors, for example, could consider the olfactory history of their acquisitions as part of their storytelling value: imagine all the stories these pieces could share, about weddings and other festivities, about faith and devotion, about individual preferences and hospitality…all coming together in a piece of jewellery.

In the next installment on the sensory dimensions of jewellery, we’ll be looking at sound!

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

Sight

Touch

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References

This blog is based on my book Silver & Frankincense – Scent and Adornment in the Arab world.

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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.