Clove jewellery: fragrant necklaces in Middle Eastern & North African traditions

Clove jewellery: fragrant necklaces in Middle Eastern & North African traditions

by | Objects

The power of spices

Cloves in jewellery from North Africa & the Middle East

Updated September 19, 2025

Cloves are not only a spice that fills kitchens with fragrance — they have also found their way into jewellery. From Morocco to Palestine, cloves were strung into necklaces known as qiladet qrunful, worn as amulets, wedding jewellery, and telling of the intimacy between spouses. These clove necklaces are a beautiful example of how everyday materials can carry deep symbolic meaning in Middle Eastern and North African jewellery traditions, so let’s look at their use and history!

What are cloves used for in history and medicine?

Cloves were imported from India as early as the Middle Ages: in the 13th century, tax lists from the port of Aden, in Yemen, include clove as medicinal spices [1], and in Malaga, in Spain, the pharmacist Ibn al-Baitar included clove in his overview of medicinal plants, herbs and spices. [2]

The medicinal use of clove is often also based in its fragrance alone. An example from early 20th century Palestine says that if a child has diarrhoea, it needs to have a dough pie filled with mutton, onions, cinnamon, cloves and other herbs broken open above its face, so that the child may smell it. [3]

Cloves in jewellery across North Africa & the Middle East

Cloves were used in jewellery early, too. A string of cloves was excavated in Qaw el-Kebir, Egypt, and dates to the 5th – 7th century. [4] In the 10th century, Abbasid author al-Washsha described what elegant people in the city of Baghdad would wear.

“Their well-known way of dressing themselves in jewelry arranged as necklaces consists of wearing chokers with fermented cloves, long necklaces of camphor and ambergris, chains of interlaced pearls, necklaces from which hang notched boxes with amulets, others decorated with twisted ribbons of gold, or of silk woven into the form of a chain…” [5]

That is a ton of scent described right there! I liked the description of fragrant jewellery worn together with precious materials like gold and silver, because that is still very much the case in 19th and early 20th jewellery from North Africa and Southwest Asia. See for example the scented paste beads, beautifully strung with pearls and coral, in this article.

Cloves and Palestinian wedding traditions

I love how cloves signify the bond between women in Palestinian wedding traditions. Here, clove necklaces are part of wedding adornment. They are threaded onto necklaces by a double thread, that runs through both ends of the clove. To pierce the cloves, they had to be soaked in water first, and in some cases, it is said that the bride used this scented water on the day of her wedding.

Other traditions note that a Palestinian father would pay for these necklaces, both for his daughter and her female relatives and friends, as a sign of his appreciation for their friendship. That creates an entirely different level of expression and communication: that bond is emphasised by fragrance throughout the wedding ceremonies.

The close relation between cloves and weddings is visible in the memory of Wardeh, a Palestinian woman, who after her engagement went to buy cloves for necklaces, along with henna, indigo, tea herbs and amulet beads on the spice market. [6]

Cloves as amulets in Palestinian culture

Cloves were also believed to keep evil at a distance through their smell alone. [7] The necklaces worn on weddings were also powerful amulets against the Qarina, a spirit who harmed young children and expectant mothers. As such, they were worn after the wedding, too.

That use as amulet could also be achieved by simply wearing cloves in a pouch on the body, together with pepper and beads believed to ward off the evil eye. [8] These were amulets that wearers would create themselves, using supplies that were readily available in the market.

Clove jewellery as a sign of marriage and intimacy

The scent of clove has another capacity, too: it is believed to work as an aphrodisiac – something that inspires mutual attraction and sensuality. Unsurprisingly, you’ll find these in jewellery for married women – it protects from the Qarina and other jealous spirits, while also inspiring the love of a husband.

An example is the necklace above, which is from Morocco: here, the cloves were pierced lengthwise and threaded to form a ball. You’ll find cloves strung alongside coral, enameled elements and even gold throughout North Africa: they were an integral part of married life.

Clove jewellery: fleeting scent, enduring heritage

Clove jewellery may seem unusual today, but in the past it carried powerful layers of meaning. Whether protecting brides from spirits, marking a wedding bond, or simply delighting with its fragrance, the qiladet qrunful shows us how jewellery is never just adornment.

Even something as humble as a clove could become a cherished amulet or wedding necklace, woven into the cultural memory of Palestine and beyond. By looking closely at these fragrant jewels, we rediscover how symbolic and intimate jewellery traditions once were — and they continue to inspire today!

Frequently Asked Questions about clove jewellery

What is a qiladet qrunful?
A qiladet qrunful is a clove necklace traditionally worn in Palestine. It is often part of wedding jewellery and symbolises both protection and intimacy, as cloves were believed to repel spirits and carried a pleasant fragrance.

Why are cloves used in jewellery?
Cloves have long been valued for their strong scent and medicinal properties. In jewellery, they were used as amulets against harmful spirits, as well as symbols of love, fertility, and the bond between spouses.

Where is clove jewellery found?
Clove jewellery appears in North African and Middle Eastern traditions. Examples are recorded from Morocco, Palestine, and other parts of the region where cloves were imported as valuable spices.

Is clove jewellery still worn today?
While rare today, clove necklaces survive in museum collections and family heirlooms. They are an important reminder of how everyday materials like spices could carry deep symbolic meaning in jewellery.

What does clove jewellery symbolise in marriage?
In Palestinian tradition, clove necklaces were worn by brides as a sign of marriage and intimacy. The fragrance of the cloves was thought to protect the couple while also symbolising closeness and affection.

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References

[1] Herbal Medicine in Yemen, p. 27.

[2] Mouhajir, F. 2002. Medicinal plants used by Berber and Arab People of Morocco, PhD thesis, University of British Columbia, p. 11.

[3] British Museum, inv. no. OA.882. The string was on display in the exhibition Silk Roads in the British Museum.

[4] Granqvist, H. 1950, Child Problems Among The Arabs, p. 97

[5] Williams, E.D. 2015. Worldly Adornments: Women’s Precious Metal Jewelry in the Early Medieval Eastern Mediterranean (500-1100 CE). PhD thesis, New York University, p. 47

[6] Kawar, W.D. Threads of Identity, p. 330.

[7] Garcia Probert 2021, Exploring the Life of Amulets in Palestine, PhD-thesis Leiden University, p. 247

[7] Garcia Probert 2021, Exploring the Life of Amulets in Palestine, PhD-thesis Leiden University, p. 236

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The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

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Parfums d’Orient: book

Parfums d’Orient: book

by | Reviews

Institut du Monde Arabe

Parfums d’Orient: the catalogue

Published on Jan 8, 2024

The wonderful exhibition Parfums d’Orient, in the Institut du Monde Arabe in Paris, came with its very own publication. The book, too, is called Parfums d’Orient, and it is as beautiful as the exhibition itself.

Ancient stone incense burner from the Arab Peninsula

Parfums d’Orient: the catalogue

The book presents 26 essays by renowned authors. The essays are grouped into four main parts: natural resources for perfumes, the art of perfuming oneself, fragrance and the invisible world, and fragrance in and around the house. As such, the catalogue follows the design of the exhibition and paints a complete picture of the world of fragrance.

The book starts out with an introduction of fragrance. How does it affect our mood? Why is it important to have around us? And how does our sense of smell actually work? A series of essays sets the scene to understand the role of fragrance in our personal lives, and the cultural interconnectivity that perfumes from the Middle East represent.

Parfums d’Orient: the bounty of nature

The first essays are devoted to ingredients and perfume history. I enjoyed the beautifully illustrated essays on Damascene rose, oud, ambergris and musk. The historical background explains how scented paths crossed, resulting in the familiar fragrances of today, while the essay on the perfumer’s art sheds light on both the past and the future of perfuming.

Parfums d’Orient: perfuming oneself

The second part explores the realm of science and history. Here, we learn of medieval manuscripts with perfume recipes, the trade in incense and the beautifully designed perfume flasks. An exploration into the bath house reveals the use of fragrance in relation to health and well-being.

I really liked the personal point of view on perfuming in the essay on perfume and art: imagine, indeed, losing your sense of smell as a result of the pandemic. Suddenly, the world becomes one-dimensional and plain; fragrance is of greater importance than we might think.

Parfums d’Orient: fragrance and the invisible world

Now this is one of my favourite angles, and if you have taken my course Scents of the Middle East, you’ll have seen why! Fragrance itself is like an invisible power that may affect our happiness and sense of wellbeing. This part of the catalogue addresses that supernatural capacity of scent throughout the ages.

Ancient Egypt, early Christianity and Judaism as well as Islam have their own spiritual connotations with fragrance, and these are explored in separate essays. The special essay on fumigations and magic is short, but fascinating!

Parfums d’Orient: perfume in and around the house

And this is where the jewellery is….! Scented paste and fragrant beads are shown in relation to the intimacy of marriage, adding yet another layer to the meanings perfume may carry. That extends to perfuming one’s guests and spicing dishes, both of which are discussed, too.

Parfums d’Orient: art, research, history, science

The catalogue is beautifully illustrated, showing you everything from ancient artefacts to modern art, from sweeping landscape views to medieval manuscripts. What I really loved about this book is that it seamlessly integrates the historical and cultural background of fragrance with art and lived experiences. As such, it really conveys the importance of the senses for our everyday existence. Fragrance is part and parcel of every aspect of life, and the exhibition catalogue absolutely brings that point across.

Parfums d’Orient. By Hanna Boghanim and Agnes Carayon (eds) (2023). 223 pages, full-colour, in French. Published by Institut du Monde Arabe/Skira.

Available with the publisher and in the museum shop of the Institut du Monde Arabe.

I purchased the book in the museum shop of the Institut du Monde Arabe upon my visit of the exhibition.

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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.

Perfume jewels: meskia

Perfume jewels: meskia

by | Objects

Ottoman splendour

Perfume jewels: the meskia pendant

Updated Feb 19, 2024

In the Maghreb, notably in Algeria and Tunisia, spectacular containers called meskia are worn. What are these, what is their history and why are they important? In this post, I’m exploring these delicate and sumptuous jewels.

A stunning gold meskia from Algeria, with pearls, rubies, emaralds and diamonds.
A beautiful gold meskia from Tunisia.

What is a meskia?

A meskia is a small, delicate pendant with an open worked lid, which contained fragrances. It is usually made of precious materials, such as gold, and decorated with gemstones and pearls. Its name, meskia, is derived from its content: it would hold musk, but was also used for other scented substances. [1]

These containers are relatively small and very opulent in their decoration. That tells us more about the importance attached to these jewels. So, what is that importance?

Meskia: fragrance and faith

Like its name suggests, the contents of boxes like these would have been musk. Musk is an important and popular scent, as it was said to be the favourite fragrance of the Prophet. In that respect, it carries a religious association.

Musk was a scent that was imported into the Mediterranean in Late Antiquity: the Persians had access to the trade with Central Asia. [2] This is where the musk deer lived, from whose glands the scent was first extracted.

Through the association with the Prophet, musk became extremely popular and was imported on a massive scale. That popularity continues until today. Musk is now largely synthetically produced, and you will find it in many shapes and forms throughout the Islamic world.

Style and execution: Ottoman luxury

The opulence of the meskia reflects its origin in the Ottoman period. The Ottoman Empire stretched across the Mediterranean, and included large parts of what is now Algeria and Tunisia. The splendour of the Ottoman court in current-day Istanbul traveled with Ottoman dignitaries, merchants and craftspeople to all corners of the empire. Here, it continued to inspire both the local elite and craftsmen who catered to a wealthy clientele.

" The meskia is a sign of status: both the container and its contents are precious and expensive"

Differences in meskia styles

Not all meskia-pendants are the same: their shape is similar, but there are differences in their execution that are particular to the regions where they have been made and worn. [3]

The Algerian meskia shown above (click to enlarge it) is made of ajour-cut sheet gold. The box itself is decorated with a rim of pearls. Its lid has been set with a border of rubies around a large central emerald. The floral design of the lid shows accents of small rubies and emeralds, and a few diamonds set in the silver leaves.

The Tunisian meskia (click to enlarge it) is made in a different technique: its lid is executed in fine filigree. The dangles of pearls and irregularly shaped precious stones serve to convey that same luxurious status.

Meskia: an urban jewel

Wearing a meskia has long been an urban tradition. [4] This is where the wealthier people lived: rich merchants, affluent families and of course the administrative and military Ottoman elite. They had access to the best craftsmen, as well as to precious stones used to decorated these perfume containers. The content of these containers was expensive as well. Wearing a meskia was a sign of wealth: not only because of the container, but because of the expensive perfume in it, too.

Outside of the main urban centres, fragrance was worn as well, but it took other forms such as the scented paste beads and silver perfume containers.

See more about those scented paste beads from North Africa in this article!

The meskia today: an important wedding jewel

The meskia is still part and parcel of wedding attire. Algerian and Tunisian brides wear elaborate necklaces made of scented paste beads, rows of pearls and a meskia container. As these jewels are quite costly, they can be rented for the day from the wedding planner. Through their combination of heritage, identity and faith, they add an important level of festivity to the wedding. It’s a small, but highly significant piece of jewellery!

Collage of a smiling woman from Egypt, wearing gold earrings, with dewy rose petals, jasmine and lilies. A bright yellow text box reads 'Scents of the Middle East'

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References

[1] Eudel, Dictionnaire des Bijoux de l‘Afrique du Nord, under ‘meskia’, notes that ‘mesk’ is also a word used to indicate a leather pouch in which jewellery was stored. This shares the significance of a container designed to hold precious content.

[2] King, A.H. 2007. The musk trade and the Near East in the Early Medieval Period. PhD-thesis Indiana University, p. 239.

[3] As already noted by Eudel in his Dictionnaire des Bijoux de l‘Afrique du Nord, under ‘meskia’.

[4] Akam, F & A. Hanafi, 2003. La mode Ottomane dans les bijoux citadins, in: Bijoux & parures de’Algèrie, Somogy Editions d’Art, p. 37-41.

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.

Glanz und Geheimnis

Glanz und Geheimnis

by | Museums & Exhibitions

a stunning private collection

Glanz und Geheimnis

A hidden gem: the exhibition of traditional silver jewellery and dress from the wonderful collection of Swiss collector Peter Hösli is on show in the Knauf Museum, Iphofen, until November 2023. I had the opportunity to visit this beautiful exhibition – so many rare pieces that I had to return for a second visit!

A stunning treasure of silver and beaded jewellery from North Africa and the Middle East.

Bedouin Silver | Glanz und Geheimnis

Omani necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Oman

Yemeni necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Yemen

Palestinian chin-chain from the collection of Peter Hoesli

Glanz und Geheimnis | Palestine

Bedouin dresses in the exhibition Glanz und Geheimnis

Glanz und Geheimnis | Bedouin dresses

First, what is the Knauf Museum? This is the museum that the Knauf family (if you have ever done home renovation, you have used their products) has founded in their hometown of Iphofen in Germany. Its permanent exhibition shows plaster casts of many famous archaeological sites and artworks from the Classical world, South America, Asia, and ancient Egypt. And in the newly added wing, the museum hosts a variety of temporary exhibitions on a wide range of cultural topics. This year, that topic is silver jewellery from the Arab Peninsula and the Levant, so I had to see this: lots of Bedouin jewellery, and much more!

The accompanying book was already a delight (see more about that here), but seeing these pieces in person and being able to observe every detail was, of course, even better. The exhibition is spread over two floors, and I loved the sight of a magnificent dress of as-Salt, Jordan, greeting me in the bright and airy conservatory between the new and the old wing. It circled gently, allowing visitors to admire its detail on every floor, and I personally thought this one of the best ways I have ever seen such a dress displayed. In case you don’t know what I’m talking about: these dresses are huge!

The jewellery pieces themselves were even more beautiful in real life. Polished to a shine, they were placed either lying down or mounted on mannequin heads. The showcases were spacious and accommodated the jewellery well, with each piece allocated enough ‘breathing space’ to be admired without being spread too thin. The only truly incomprehensible thing about the exhibition is the designers’ choice of background colour for the jewellery: detailed and delicate silver pieces become near invisible against the variegated grey background they were placed on. Instead of an even, contrasting colour, this melée of grey made dainty filigree and granulation very hard to see. A background colour for silver does not even have to be black…but I implore anyone thinking about a jewellery exhibition to just not use variegated grey. The jewellery deserves better.

And especially this jewellery, because like I wrote in the book review, you are in for a treat if you have a chance to see this exhibition. It shows many rare pieces that are impossible to find, such as Najd hair ornaments strung on a strip of cotton, superb filigree work from Yemen, and Palestinian ‘iznaq chin chains that made me gasp. The addition of dresses adds colour and life to the showrooms: several beautifully embroidered Bedouin gowns from Tiraz collection and a number of dresses from Peter’s own collection illustrated how adornment goes beyond just jewellery. And I really enjoyed seeing the small cotton pouches attached to Saudi women’s dresses, that once were filled with aromatics such as oudh…such a wonderful way of perfuming oneself.

In addition to the jewellery itself, a short film explained the various techniques of silversmithing in the Levant. This was curated by Salua Qidan of both Tiraz centre and Folkglory Designs. Seeing the jewellery made lifted something of the inevitable static nature of any exhibition, and I found this to be a very valuable addition to the exhibition itself. In the same room where the film could be watched, several fully dressed and adorned mannequins brought jewellery and dress together, and I loved seeing how the two interact.

If you are in the area, or have a possibility of traveling there, you should absolutely go see this exhibition!

Glanz und Geheimnis/Shine and Mystery

Knauf Museum, Iphofen, Germany

March 26 – November 5, 2023

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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.

Shine & Mystery

Shine & Mystery

by | Reviews

a stunning private collection

Shine & Mystery

A long-awaited book: the personal collection of Swiss collector and traveler Peter Hösli features in the exhibition Shine & Mystery in the Knauf Museum in Iphofen, Germany, and with the exhibition comes a wonderful catalogue on jewellery from Southwest Asia. And you’re in for a treat!

Cover of the book Shine & Mystery. Splendour and power of Oriental jewellery.

Bedouin Silver | Shine and Mystery

Page from the book Shine & Mystery, showing jewellery from the Levant

Shine & Mystery | Levant

Page from the book Shine & Mystery, showing jewellery from Saudi Arabia

Shine & Mystery | Saudi Arabia

Page from the book Shine & Mystery, showing silver and gold jewellery from Oman

Shine & Mystery | Oman

Page from the book Shine & Mystery, showing jewellery from Yemen

Shine & Mystery | Yemen

First, about the title. I usually don’t care much for exoticizing words such as ‘mystery’ in the context of jewellery from Southwest Asia, but there might be a very good reason in this case. After all, the original title of both exhibition and book are in German: Glanz und Geheimnis. Although the title is not explained, I immediately associated it with a previous exhibition, in Cologne, called Pracht und Geheimnis. This has been one of the most influential exhibitions and its accompanying publication is still one of the main reference books for dress and adornment from Palestine and Jordan. It presented the collection of dress and jewellery of Widad Kawar of Tiraz Centre. Tiraz has generously lent costume and dress to this exhibition, too, and so in my mind the dots were easily connected. [1]

Shine & Mystery starts out with a portrait of the collector, Peter Hösli. This is incredibly important: to get the know the person behind a collection. In the short biography we learn how his focus as a collector is on unusual, upper class pieces, more modest middle class pieces as well as on repaired pieces. That last aspect is often overlooked, but it is here we learn of woman’s preferences and choices over the course of her life. And that is indeed what the focal points of the collection should be, according to Peter: they should be a testament to arts and culture, provide an insight in the history of a region or country, and share not only the skill of the silversmith but also the personal stories of the people that wore these items. With these parameters, this stunning collection has been carefully built over the years.

But: those histories and personal stories is not what this book focuses on. Instead, it presents a unique and important angle that I feel should be brought to the forefront more often, and that is the history of collecting itself. In each chapter, Peter shares his own experiences buying jewellery, as well as stories and snapshots of his life traveling and living in the region. I absolutely loved this personal approach, as the aims and goals of the collector and the circumstances of collecting have a profound effect on the collection itself: what is included, what is excluded, and why? An example is the memory of an Omani headdress, which turned out to be way too expensive to purchase at that time (p. 100-101): by including his tales about ‘the ones that got away’, the author shows us how collecting is a constant process of not only selecting and choosing, offer and demand, but also other factors. That places the pieces in this catalogue in a context that is rarely seen, and to me absolutely enhances the value of this book even more. It is like traveling together and looking over the shoulder of the collector.

So what do we see, when we look over the shoulder of the collector? Shine & Mystery presents four chapters, each devoted to a region or country. These are Saudi Arabia, the Levant, Oman and Yemen, each preceded by a personal introduction. And in these chapters, the most wonderful jewellery items are presented in bright, crisp photographs. For each item, a small fact-sheet is included with its name (and where possible its vernacular name), its origin, weight and dimensions, its age and a short description. In these descriptions is a wealth of information about the jewellery pieces and their use: we learn of Najd-headdresses featuring in poems, an inscription against the evil eye, but also highly relevant historic facts such as changing borders. We are accustomed to borders as they are today, and only too often do inhabitants of either side of a border claim a certain jewellery style as their own: a bare fact like a border changing in 1926 (p. 21) forces us to see jewellery on a long term-scale. It’s details like these that are so often left out, and I’m very happy to see them included here.

The jewellery items themselves are just breathtaking, and a testimony to the eye of the collector. I loved the coloured glass and plastic beads on a silver Omani necklace (p. 119), the fragment of a choker necklace repurposed on a headband from Jordan (p. 62), the breathtaking skills of the silversmiths creating these jewels and so much more. The clear, bright photographs really do these pieces justice and the atmospheric close-ups of details bring them to life: I could gaze over the images in this book for hours! There are a few instances where only a detail of a jewel is photographed, not the complete piece, so you need to know what you’re looking at. [2]

The design of the book is carried out with great care and attention to detail. Each section is colour-coded with the colours running off the page, so you see neat blocks of colour on the lower side of the book as well. At the end of the catalogue you’ll find a useful glossary of terms and a bibliography. As this is not so much a book about jewellery history, but a personal catalogue, the bibliography is very brief: there are no references throughout the volume. The only drawback is that it contains Wikipedia-references on topics on which actual literature is abundantly available, including online sources – I must admit this choice surprised me, given the absolute quality of the collection presented.

My advice to you would be straightforward: do not hesitate and buy this book before it is out of print. This catalogue is a very relevant addition to any collector’s or curator’s bookshelf. It contains many rare and outstanding pieces of jewellery that you will not see elsewhere, and the personal experiences with collecting jewellery in the countries of origin themselves are incredibly important to increase our understanding of how these objects are valued and handled. A must-have publication of an incredible collection!

Shine & Mystery. The splendour and power of oriental jewellery. Edited by Markus Mergenthaler, 2023

Full colour, hardback, 191 pages, available in German and in English. Published by Nunnerich-Asmus Verlag and Knauf Museum, Iphofen.

Available with the publisher: click here for the English edition and click here for the German edition.

For orders outside of Europe: you can write to the publisher for a quotation of shipping costs, or alternatively order on Amazon.

Follow Peter Hösli’s amazing Instagram-account here for more jewellery beauty!

The book was received as review copy from the publisher.

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References

[1] Volger, G. (red) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Palastina und Jordanien, Rautenstrauch-Joest-Museum, Koln. The catalogue Shine & Mystery of this review does not include the dresses of Tiraz, they feature in the exhibition only. The fact that the exhibition is in German shimmers through in the book on occasion: the chapters Saudi-Arabia and Levant have both German and English titles, and the front cover and title pages have a spelling error in the title ‘mystery’. None of this diminishes this book in any way.

[2] Such as on page 23, 25, 66, 82

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.

This blog is free: if you’d like to support independent research, please consider enrolling in a course or a jewellery talk. The proceeds directly fund my research work: thank you so much for your support!