Colour symbolism in Middle Eastern jewellery

Colour symbolism in Middle Eastern jewellery

by | Magic & Amulets

Red, blue, green, and beyond

Colour symbolism in Middle Eastern jewellery

Updated October 2, 2025

Colours in jewellery are never chosen at random. In Middle Eastern and North African traditions, colour has long been understood as more than decoration: it carries meaning, protection, and symbolism. Red could signify blood and fertility, blue was tied to water and the skies, amber evoked the warmth of the sun, and green spoke of growth and abundance. Looking at colour symbolism in jewellery helps us understand not only the objects themselves, but also the cultural worlds in which they were worn. In this article, part of my series on amulets and charms in jewellery, I will go over the main colours in jewellery from North Africa and Southwest Asia.

Colour symbolism: flexible and varied

The importance of colours and their capacities is huge. The use of the two main colours, red and blue, is a given that appears in jewellery everywhere. But other colours are chosen on a local level.

And that is where we find a great variety in use throughout North Africa and Southwest Asia. The uses of colour vary from one region to another, from tribe to tribe and from family to family.

They also vary greatly throughout time: the same colour can be believed to have a very different meaning in different historic time periods. [1]

So, this is a major aspect to bear in mind: there is no uniform use of colour in a region as vast and as varied as this.

In the image above (click to enlarge it) you’ll see a variety of amulets, beads, rings, earrings, necklaces, fibulas and hair ornaments. All of these are not randomly given a colour, but each and every one carries meaning in the culture it comes from.

Red in Middle Eastern jewellery: blood, life and protection

Red is a fierce colour: it stands out from its surroundings and is very difficult to go unnoticed. It captures the attention of the onlooker and almost acts as a stop or danger-sign, and that capacity makes it very well suited to be an agent against evil forces. It is bound to catch your eye.

In Pakistan, red powder was sprinkled at the entrance of a house to keep spirits away [2], and in Algeria, the Shawia considered everything red as a powerful ally against the evil eye [3].

As the colour of blood, red is also very much a colour worn by women. Blood is associated with fertility and life, as it surrounds many life events such as marriage and giving birth, but also in the monthly cycle.

That is partly why red is also a predominant colour in dress throughout the region, and why henna is valued for its reddish colour. [4]

Blue in jewellery: water, skies, and protection against evil

Blue is the natural counterpart to red. It’s a cooling colour, related to water, the moon and the skies.

As blue does not occur as much in nature as red, blue in jewellery is often man-made. Blue glass, enamel or faience often serve to add a pop of blue in jewellery. [5] Materials that have a blue shade such as turquoise are also used for their protective qualities.

 The most widespread use of blue is in the well-known eye beads: see more about those in this article. You will find blue beads worked into necklaces and charms, notably for children.

Another characteristic blue amulet is the Seven Eyes amulet: see more about that here.

Yellow: wearing sunlight

Yellow represents the warm, life-giving rays of the sun. Notably amber is much prized because of its correspondence with sunlight. It has other capacities, too: discover these in this article.

 That force of sunlight may also be present in the orange-tinted carnelian, which echoes the light of dawn. In many ancient societies, carnelian in particular was regarded as representing the dawn through its colour. This is a wonderful example of how colours can carry different meanings: it is never just one capacity and its significance changes per region, and over time.

Green jewellery: abundance and fertility

Green represents growth and prosperity. [6] Through its association with vegetation, verdant hues of green bring life and fertility. In many countries, the green vegetation stands in stark contrast with the deserts, and as such green has been a significant colour since antiquity.

Changing meanings of colours over time

This importance to colour and their meaning is also rooted in the availability and technical possibilities of the times. In today’s world, we are used to a wide range of colours that simply could not be created a century ago. Colour symbolism is also strongly tied to the natural environment of the society that values it.

Take purple, for example. The process of creating purple dye was so complex and costly, that it was reserved for the super wealthy only: the Roman emperor and his immediate surroundings. And even though purple is easy to create today, it still carries that connotation of luxury and opulence.

The language of colour in Middle Eastern jewellery

The language of colour is one of the most direct ways in which jewellery communicates (along with shape and material), in almost all cultures up until a few decades ago.

Depending on the culture, colours could be used to keep evil away, to convey stages of mourning or celebration, to show wealth and access to complex processes and materials, and to help combat and cure a variety of diseases.

And of course, colours are important beyond jewellery and adornment, too. Colours govern the world of the jinn, they are associated with star signs and magical spheres; they play a role in virtually every moment of life.

Colours are used for general and very specific purposes. What these colours represented also shifted across time and place, showing how flexible and dynamic colour symbolism can be. By paying attention to the colours in traditional jewellery, we glimpse how people in the region used adornment as a language of meaning, belief, and identity. It’s rarely ever ‘just’ a colour, and I do love exploring the world of the senses!⁠
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The use of colour is just one of the topics in the e-course on jewellery from North Africa and Southwest Asia: have a look and learn to read the symbolism in jewellery here!

Frequently Asked Questions about colour in Middle Eastern jewellery

Why is red an important colour in Middle Eastern jewellery?
Red is linked to blood, fertility, and life, making it a strong colour of protection and vitality.

What does blue symbolise in jewellery from the region?
Blue is associated with water, the skies, and protection. It appears in turquoise, glass, and eye beads.

Why is yellow considered powerful in Middle Eastern jewellery?
A yellow hue connects jewellery to sunlight, warmth, and protective energy.

How is green used symbolically in jewellery?
Green symbolises growth, fertility, and abundance, often linked with vegetation in desert landscapes.

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Want to learn how to read the protective powers in jewellery? This e-course rounds it all up for you.

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

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References

[1] W. McClintock 1991, Folk Religion in Pakistan, p. 62.

[2] M.W. Hilton-Simpson 1915, Some Algerian Superstitions, in: Folklore Vol. 26, no. 3 p. 229-230.

[3] See for example this book on medieval thoughts on coloured stones in jewellery.

[4] Westermarck 1911, The Popular Ritual of the Great Feast in Morocco, in: Folklore Vol. 22, no. 2 p. 141, mentions henna as a ‘holy colour’.       

[5] See A. Popper-Giveon, A. Abu Rabia & J. Ventura 2014. From white stone to blue bead, in: Material Religion Vol. 10 Issue 2, pp. 132-153.

[6] Although green is also recognized as the colour of envy, see for example Edmund Doutté 1909, Magie & Religion de l’ Afrique du Nord, p. 62 for an example from Algeria.

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.

Khamsa in jewellery: history, symbolism, and the Hand of Fatima

Khamsa in jewellery: history, symbolism, and the Hand of Fatima

by | Magic & Amulets

Hand of Fatima

Khamsa in jewellery: history and symbolism

Published Jan 26, 2024

The khamsa is one of the most recognisable symbols in jewellery. Also known as the hamsa or Hand of Fatima, it is found from Morocco to Iran and beyond. Both as a hand and as the number five, the khamsa has been used for thousands of years to bless, protect, and ward off evil. In this post, part of my series on amulets in jewellery, we’ll look at its origins, its meanings, and how the symbol continues to live on in traditional and modern jewellery.

Khamsa or hamsa? Spelling and origins

First things first: how is it spelled? There are a myriad ways of spelling khamsa: khamsa, hamsa, chamsa, khoms, khoumsa, khmissa, hamesh…all of these are a rendering of words from another language, written in another script.

The word is known in both Arabic and Hebrew, and its spelling varies with each European language trying to come close to the pronunciation of the word in those languages. So if you’re looking for information online: try a few different spellings! (and here’s a post to help you do just that)

The khamsa symbol: both hand, and the number five

The key to understanding the khamsa symbol is to realise that it is actually two things: the power of the number 5, and the symbol of the hand. Both have become so closely related, they are inseparable. [1]

Khamsa means ‘five’ in Arabic. That is an auspicious number for both Islam and Judaism. In Islam, it refers to the five daily prayers and the five pillars of faith. In Judaism, the abbreviation of the name of God is heh, and the letter heh has the numerical value of five. [2] It is also associated with the five books of Moses. [3]

And as a hand has five fingers, you see how it makes sense to express the value of ‘five’ with an image of the hand. That is where the khamsa hands, that you see everywhere in jewellery, dress, and decorations come from. It’s also how it became known as Hand of Fatima, Main de Fatma, Hand of Maryam, Hand of Mary and other variations. But the hand as an amulet itself is a very old symbol, too.

How old is the khamsa symbol? Ancient roots in Mesopotamia and Egypt

Hands are amongst the oldest forms in the world: thousands of years ago, people already intentionally left handprints in rock shelters. These were a form of presence ‘we were here’, but we also find hands as protective symbols. The hand has remained a powerful symbol ever since.

In ancient Mesopotamia, the Hand of Ishtar was believed to keep evil away from your door. And interestingly, there is a connection between the goddess Ishtar, the number five (again!) and the five-pointed star: the number five also is associated with ancient astronomy. [4] See here how that has left its mark on ethnic jewellery millennia later!

In the gallery above you’ll see a small amulet in the shape of hand, dating from ancient Egypt.

Hands as symbols have been found in Iran, Saudi Arabia and Tunisia. They are often associated with goddesses, like Ishtar, but also Tanit. In the main monotheistic religions, hand amulets are called Hand of Fatima, Hand of Maryam or Hand of Mary.

But: not all khamsas take the shape of hands!

A foulet khamsa from Morocco, with a bright green glass cabochon.

Khamsas beyond the hand: khomissar and foulet khamsa

As I wrote above, the khamsa is not only the hand. It is also a rendering of the number five. And as such, it does not always have to appear in the shape of a hand – a visual expression of the number five can take many forms.

The Tuareg khomissar is an amulet that is a khamsa (you will note the same root in its name), but it does not look like a hand. This amulet is called ‘five’ because of its design: in the gallery above you’ll see how it is constructed of five pieces of shell, mounted on leather.

And one of my favourite shapes of a khamsa is the Foulet Khamsa: I like this one so much that I gave it its very own blog post – with an exploration into its name!

Three silver hair ornaments for children from Oman
Khamassiyat forehead ornament, worn in the Jordan Valley and Bethlehem area.

Khamsas in traditional ethnic jewellery

All of these powers translate into jewellery really well. [5] You will find pendants in the shape of a hand from Morocco to Iran: a few are included in the gallery above. As you see, they most often feature as parts of another jewel. You will find dangles in the shape of hands, hands are engraved on pieces of jewellery, they are embroidered onto textiles…

That can be in stylized forms, like the pendants on the Omani hair clip or the Yemeni pendant shown below. And sometimes, that is to the point where it becomes really hard to tell if we’re looking at a stylized hand, a triangle or a stylized human shape…and that is the beauty of it, because in the end, this is where forms in jewellery can all of the above, depending on who you ask.

The hand is a beautiful shape to combine with other motifs that add to its meaning: the colours red and blue, the appearance of fish, the star and crescent, lizards, magical texts and more – there is an entire episode dedicated to hand and eye amulets in the e-course on Amulets & Magic in Jewellery.

Apart from the symbol of the hand, there are other ways to include the power of five in jewellery. The number is worked into patterns and designs in an intricate manner: see how to read numerology in jewellery here.

A silver hair clip from Oman, called halqa

Khamsas in modern jewellery and popular culture

Today, khamsa hands are used in necklaces, rings, bracelets, and are often combined with evil eye jewellery. You’ll see them much more often as stand-alone pieces of adornment: a pendant, earrings, rings focusing exclusively on the symbol of the hand, instead of adding it as one of the motifs on jewellery and dress.

They are also abundantly used for other objects such as car amulets, keychains, or home decoration, and you’ll find them printed on textiles, embossed on leather bags, you name it. Modern khamsa art can be found everywhere, and is both popular with artists who are inspired by this ancient symbol to honour their cultural heritage as well as with tourists.

The meaning of the Khamsa: protection and blessing

The khamsa, whether as a hand or as the number five, has travelled through millennia while carrying the same essential meaning: protection, blessing, and hope. From ancient Mesopotamian hand symbols to modern pendants and keychains, it shows the extraordinary persistence of human belief expressed through jewellery. That continuity is what makes the khamsa so powerful — whether it is used as an amulet or just worn as an accessory, the shape of the hand itself connects us to thousands of years of human expression of hope and fear, and I love how a form that old still carries meaning today!⁠

Frequently Asked Questions about the khamsa symbol

What does the khamsa symbolise?
The khamsa represents protection and blessing, linked to the number five and the shape of the hand.

Why is the khamsa also called Hand of Fatima or Hand of Maryam?
These names reflect its adoption in Islamic and Jewish traditions: it carries meaning in both religions.

Are all khamsas shaped like hands?
No, some represent the number five in abstract forms, such as the Tuareg khomissar or the Moroccan Foulet Khamsa.

IS the khamsa still used today?
Yes, it appears in modern jewellery, home decoration, and art, often combined with other protective motifs like the evil eye.

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Want to learn how to read the protective powers in jewellery? This e-course rounds it all up for you.

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

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

—

References

[1] Paul Eudel notes in 1909 in his Dictionnaire des Bijoux, p. 95, that ‘the word which means five is also employed for the design of a jewel in the shape of an open hand’.

[2] F. Vukosavovic 2010, Angels and Demons. Jewish magic throughout the ages, p. 108.

[3] Eva-Maria von Kemnitz 2023, Hand of Fatima, Brill Publishers, p. 10.

[4] Eva-Maria von Kemnitz 2023, Hand of Fatima, Brill Publishers, p. 10.

[5] E. Doutté 1909, Magie et religion dans ‘l Afrique du Nord, p. 326-227 describes the wearing of silver and gold khamsas in jewellery in Morocco; Zwemer 1920, The Influence of Animism on Islam, p. 85 describes the same for Egypt.

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.