Silberschmuck aus Nubien

Silberschmuck aus Nubien

by | Reviews

Collection of Wolfgang and Sibylle Mayer

Silberschmuck aus Nubien

Silver jewellery from Nubia is a category of jewellery that has not received all that much attention throughout the years, and so a new book on this beautiful heritage is very welcome! Silberschmuck aus Nubien is devoted to the private collection of Sibylle and Wolfgang Mayer.

Cover of the book Silberschmuck aus Nubien

Bedouin Silver | Silberschmuck aus Nubien

Sample page form the book Silberschmuck aus Nubien, showing silver jewellery with rosettes.

Silberschmuck aus Nubien | rosettes

Sample page from the book Silverschmuck aus Nubien, showing the beginning of the chapter on bracelets.

Silberschmuck aus Nubien | bracelets

This collection was built up over decades by Wolfgang and Sibylle Mayer, a German couple living and working on the island of Elephantine in the south of Egypt, opposite the town of Aswan, and elsewhere in Egypt. The book opens with the ‘how’ of collecting: I’m always interested in what triggered collectors to fall in love with a certain type of jewellery, and here it is living in, and falling in love with, a culture. Having been in Aswan myself many times, both for work and for holiday sojourns, reading this book brought back so many memories.

I very much appreciated that it looks beyond jewellery itself to its people: the first chapters introduce life in Nubia briefly, and describe the fundamental changes in both the countryside itself and their impact on its inhabitants as a result of the Aswan Dam. Much of Nubia was flooded permanently and people were forced to relocate, which had an impact on lifestyle and thus on jewellery. Understanding that background is important to appreciating jewellery that belongs in it. Speaking of cultural background, I loved how the book also shows the decoration on not just jewellery, but on houses and utensils, too: jewellery is as much part of material culture as anything else.

The book itself is beautifully designed. Each chapter opens with a large black and white photograph of jewellery being worn, and then goes on to show a variety of silver jewellery that you will not find easily anywhere else. Bracelets, pendants, coin jewellery, anklets, earrings, nose rings, finger rings….in many forms and designs, as well as beautifully designed silver kohl needles. There are some truly remarkable pieces to be admired in this book: the imitation coin jewellery is very rare, as are several of the amulets shown.

Much of the collection was purchased in Aswan and in Cairo. That explains why there is a large body of jewellery in the book that is Egyptian, but not necessarily Nubian: zār jewellery. [1] The author explicitly states that he believes the majority of his collection may actually be from Middle and Lower Egypt (notably Cairo) [p. 75], and looking at the photos I agree that that is probably the case. The photographs of a zār included in this section are the same as featured in the book on zār by dr. el-Hadidi, or here on this website – which makes sense, as this is a most private event that is rarely photographed. The many examples of zār jewellery in this book are sometimes misidentified, but that does not diminish the value of the photographs: these pages will give you a great overview of the variety in zār pendants with spirit images!

The chapter on zār jewellery links more to Middle and Lower Egypt than to Nubia, but also within the earlier chapters there is a regional variety within Nubia itself that is not addressed. Nubia encompasses quite a large area, and the rings shown on pages 66-67 for example reflect that: there are rings present as worn by the coastal Rashayda tribes, but also from the Nile Valley villages. These regional varieties in jewellery remain unaddressed throughout the book. The bibliography does not mention the work of Griselda Tayib [2] (but frankly, that is really hard to obtain) or Imogen Thurbon [3]: both focus on Sudan, which also includes parts of Nubia. But, as the author writes, collecting with a scholarly goal was never the plan [p. 106] – this is a collection built from the heart, and that passion shines through in every page.

The collection also shows the cultural influences that you’d expect in a trade city as well connected as Aswan: for centuries, trade routes converged here. The schematic drawing of the rosette, which is a staple of Nubian jewellery, as shown on page 27 is actually drawn after a pendant from Oman – but one that ended up in Nubia and fit right in. One of the bracelets on page 45 is from Yemen, and several rings shown are worn on either side of the Red Sea: there is so much that ended up in the souks of Aswan (and also Cairo, of course) that bears testimony to this long history of trade and connection!

And what I found the most wonderful thing to read are the future plans for this collection! When you have been following this blog for a while, you know my greatest concern is not what is happening to jewellery today, but what will become of it in the future. (and if you’re new to this blog: there is more about that here). What will happen to collected jewellery when its collectors are no longer there? How will it continue to speak for the people who created it? For this collection, there is a clear plan in place: the couple have promised large parts of their collection to a yet to be realized museum on the history of Nubia in Wadi Halfa. Seeing this heritage return home eventually, where it will be integrated in the many stories of living and working in this part of the world, is simply inspiring.

Silberschmuck aus Nubien is a great visual reference book for anyone interested in jewellery from southern Egypt and northern Sudan! The beautiful photography allows you to zoom in on details, and the collection is just stunning. This book does much to spark the enthousiasm for Nubian silver jewellery and to keep it visible and admired: particularly with a relatively unknown category of traditional jewellery, that is no small feat. And if you do not read German, I know you will love it for its photographs and the wide variety of jewellery alone!

Silberschmuck aus Nubien. Ein fast verlorenes Kulturgut. By Wolfgang Mayer, 2021.

Full colour, 111 pages, in German. Published by Edition esefeld & traub, Stuttgart.

Available with the publisher and via Amazon.

The book was purchased in the museum shop of the Schmuckmuseum in Pforzheim.

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Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management? Check this free resource or download the e-book!

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References

[1] Full disclaimer: I’m close to finishing my PhD-research into zār jewellery and as such have seen more of them and read more about these than can be reasonably expected of anyone else who wants to keep their sanity. When it’s published, hopefully in the near future, this link will refer to it: the collection shown in Silberschmuck aus Nubien is absolutely wonderful and informative regardless!

[2] Griselda Tayib, Regional Costumes of Sudan: see more here

[3] Imogen Thurbon runs the informative website Women’s Literacy Sudan: see this post for example on hair braiding in Sudan

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.

A Life In Jewels

A Life In Jewels

by | European jewellery, Reviews

Liber Amicorum for Diana Scarisbrick

A Life in Jewels

What do you get a world-renowned jewellery historian for her birthday? The gift of knowledge: a gorgeous book with essays on a wide variety of jewellery topics by her friends! That is what A Life in Jewels is: a book to honour Diana Scarisbrick on her 94th birthday.

Book cover of A Life In Jewels. Liber Amicorum in honour of Diana Scarisbrick.

Bedouin Silver | Life In Jewels

And it is a treasure! Nineteen chapters deal with European jewellery studies in all timeframes and from a variety of angles. As these are all essays from a jewellery historian point of view, instead of an art historian perspective, each contribution is an inspiring example of the stories that can be told when jewellery is placed in context. The oldest period included is the Roman period, where we read about the power of the gaze on Roman imperial gems. Staring is impolite pretty much all over the world, and in this essay you’ll read more about what the Romans thought of those staring eyes of tiny carved portraits. Added bonus for me is that several of the gems shown are now in the National Museum of Antiquities in Leiden, The Netherlands, so I can walk over and see them in person! The next essay zooms in on classical (and neoclassical) gems as well, but from a collectors’ point of view: what can we learn about a collector by studying both their collections and the way they assembled them?

A late Medieval type of jewel is addressed in the essay on heart-shaped brooches from the 15th century, a category of jewellery that has received little coherent attention. I really appreciated how this chapter outlines possibilities for further research on these beautiful pieces: if anyone is looking for a research topic, this is your cue! One of my favourite chapters is the essay on jewellery theft in early modern London: this reads like nothing short of a crime novel – and also presents several examples of how difficult it is to identify jewels based on a description from a different timeframe: what on earth is ‘a gem like a pigeon’? (p. 63)

Closer to home for me was the essay on jewellery in two portraits of Sophia de Vervou: these are located in The Netherlands, and I wished I had read this essay back when I first saw them! Every bejeweled detail is unpicked, explained and placed in the context of other information surviving about Sophia’s life, down to the collar of her dog – this essay brings the woman on the portraits to life. Claims to power are expressed in jewellery in the chapter on the Stuart court in Rome, where medallions with portraits of throne pretenders James and Charles (yes, that’s the Bonnie Prince) were created by Italian craftsmen and sold to supporters.

Jewellery also serves as memory of notable events, as the essay on commemorative rings illustrates: rings commemorating the storming of the Bastille, which launched the French Revolution, or patriotic rings from Poland and Hungary, are just a few examples that carry world history and tell us more about the allegiances of its wearers. And there is so much more in this book: a portrait of Lord Petersham wearing a bat pendant, the gorgeous rings in the Musee Carnavalet, the sapphires of Queen Victoria, the close relation between illuminated manuscripts and the enameled jewellery by Falize, down to modern design and gardens in jewellery, via the French crown jewels and a splendid Chaumet tiara…in every essay, you’ll find a new angle to place jewellery in context. The only chapters that were difficult to read for me are the two contributions in Italian – but for a glimpse on unpublished gems and cameos, I’ll happily whisk out my dictionary!

Obviously, there is much to be learned from the individual chapters, but its real power to me is the joy of researching jewellery and sharing findings that is almost palpable on every single page. All contributions breathe enthusiasm for both the topic at hand and the person this book is dedicated to. And indeed, we owe Diana Scarisbrick a great debt for her never-ending passion for jewellery research – she still has yet another book in the works, and I can only hope to be blessed with that same energy should I ever be reaching her age. The book contains her impressive bibliography as well, which I’m sure will get you looking for several titles to add to your library! The volume is beautifully illustrated throughout with large, full-colour photographs.

If you are involved with European jewellery in any way, as a curator, collector, scholar or dealer, you will want to own this fabulous birthday present: this gift of knowledge to the woman who inspired so many scholars of jewellery is a beautiful gift to yourself.

A Life In Jewels. Liber Amicorum in honour of Diana Scarisbrick. Edited by Beatriz Chadour-Sampson, Sandra Hindman and Carla van de Puttelaar, 2022.

Full colour, 279 pages, in English, with contributions in French and Italian. Published by Ad Ilissum/Paul Holberton, with the gracious assistance of Les Enluminures.

Available with the publisher.

The book was received as review copy from the publisher.

More book recommendations on personal adornment and history…? Click here to see my other picks for you!

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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.

What is ‘Kuchi jewellery’?

What is ‘Kuchi jewellery’?

by | Cultures & People

Afghanistan adornment

What is ‘Kuchi’ jewellery?

Updated Dec 27, 2023

It’s a popular term: ‘Kuchi jewellery’, a firm favourite in so-called tribal fusion dance costumes. Also spelled Koochi or Kochi, it often refers to jewellery with colourful glass insets, broadly coming from Afghanistan and Pakistan. But what does ‘Kuchi’ mean?

A Pashtun dress ornament from Afghanistan

Who are the Kuchi?

Basically, ‘Kuchi’ is not a specific people, but a generic term used for a wide range of peoples in Afghanistan, but also in Pakistan and Iran. [1] The word ‘kuch’ itself is Farsi and means ‘migration’. The term is used widely these days, both in the region itself and by cultural outsiders, but as you might expect, ‘Kuchi’ is not what those peoples called themselves.

This is also where it gets complicated when it comes to jewellery research, because as ‘Kuchi’ is a relatively recent term, you will not find references to ‘Kuchi jewellery’ in any of the older standard works on jewellery from Afghanistan. [2]

‘Kuchi’ is not a specific tribe or people. ‘Kuchi’ is a generic term that did not exist before the 1980s

Tribes in Afghanistan: more than just one people

The geographic area inhabited by the peoples called ‘Kuchi’ today is incredibly complex when it comes to tribal, cultural and ethnic identities and affiliations. I wrote a little about the difficulties of pinning just one label on jewellery here, and those difficulties apply to ‘Kuchi jewellery’ as well.

Political, social, religious and cultural changes in the past decades have left their mark on the many peoples living in this region as well as on borders of countries. The Pashtun are the largest group, but Turkmen, Uzbek, Tajik, Kazakh, Baluch and Hazara people live in current-day Afghanistan as well.

As a result of decades of war, many have fled to Pakistan and further afield – it is impossible to capture the details and the effects of recent history in one short blog post, but a list of resources to start reading is here.

Pashtun silver ring with red glass

What is Kuchi jewellery?

Under this umbrella term, many styles and people who wore these items ressort. The jewellery styles share a visual language with the western Himalayas and are worn as far away as northern India as well.

There is no straightforward, clear distinction in attributing jewellery items in a region with such a kaleidoscope of peoples, shifting allegiances and changing spheres of influence. An in-depth study of the jewellery we simply call ‘Kuchi’ today could shed light on all of these aspects, as jewellery is a powerful historic source.

Afghan jewellery heritage

Alfred Janata has attempted to provide an overview as best he could in his book on Afghan jewellery.

The ornaments with red, green and blue glass that are most often labeled as ‘kuchi’ were mainly sold in Khost in the eastern Afghan province of Paktya, but created in Pakistan: once again, current-day borders are not synonym with cultural differences. According to Janata, these ornaments were worn by nomadic women who either spent the winter season in Paktya or whose migration routes crossed this province. [3].

Ornaments with smaller inlays of green and red glass (so not blue) were called Katawaz according to Janata, and may have been worn by nomadic women traveling between the winter pastures in Paktya and Katawaz, where the summer pastures were located. [4]

The famous chokers with glass inlays and dangles were worn mainly by the Pashtun in the south and southeast of Afghanistan [5], and so the book provides an overview of Afghanistan’s jewellery heritage.

Two Afghani chokers, likely Pashtun

Kuchi ornaments

The article by Hejzlarova, Susek et al [6] presents several types of ornament worn by the people called Kuchi today. They note most of the jewellery worn by women focuses on the upper part of the body like head adornment, ear and nose plugs, choker necklaces, amulet necklaces, rings and bracelets.

See more on Kuchi Afghan vanity grooming sets here

Kuchi jewellery is not made of sterling silver, but of an alloy comparable to nickel silver or ‘German’ silver, consisting of copper, zinc and nickel. The small amount of silver in these jewels was obtained from silver coins.

Modern-day Kuchi jewellery and the West

Nowadays, the jewellery pieces offered as ‘kuchi’ are usually entirely newly produced, due to the high demand for these pieces in the West. In these, a new colour palette emerges: pink, neon green, purple or bright yellow glass have been added to the original colour schemes.

The use of uniform colours in jewellery pieces is also indicative of new production: pieces executed in one colour only, notably the popular chokers, are almost certainly newly made. Actual vintage pieces have become increasingly rare.

That is not simply a matter of ‘fake’ items: creating and selling jewellery is the main source of income for many displaced people in this war-torn region. It has become a symbol of identity proudly worn by Afghans in the diaspora.

In that respect, the term ‘kuchi’ has taken on new meaning: from a term coined by cultural outsiders with little to no regard for the differences (and similarities!) of the many cultural groups in the region, it has evolved into a term used by people from Afghanistan as well to represent their cultural heritage. [7]

Afghani styles of many peoples

So, while ‘Kuchi jewellery’ remains a generic term for the jewellery styles of many social groups in Afghanistan and beyond, a group of jewellery that needs much more detailed research to pinpoint their similarities and differences, one thing is clear: it is an expression of heritage and identity for many.

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Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More on traditional jewellery from Southwest Asia and North Africa? Browse the jewellery blog here!

Never miss a thing on jewellery news? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management and research? Check this free resource or download the e-book!

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References

[1] Tapper, R. 2008. Who are the Kuchi? Nomad self-identities in Afghanistan, in: Journal of the Royal Anthropological Institute 14, pp. 97-116.

[2] Janata, A. 1981. Schmuck in Afghanistan, does not mention ‘Kuchi’ for example – the term was not used as widely as it is today. Neither do Stuckert & Bucherer-Dietschi  1981, Schmuck und Silberschmiedearbeiten in Afghanistan und Zentralasien : Schmuck in Sammlungen, Bibliotheca Afghanica, which has an emphasis on Turkmen jewellery in Afghanistan.

[3] Janata 1981, p. 68.

[4] Janata 1981, p. 70.

[5] Janata 1981, p. 74.

[6] Hejzlarova, T., L. Dusek (2019) Kuchi Jewellery, in: Annals of the Naprstek Museum 40/2, pp. 27-48.

[7] Among many other things: the adaptation of the world ‘kuchi’ has many other implications, as the article by Tapper explores. See also Hejzlarova et al., p. 33, who observe there is very little known about this type of jewellery, but an abundance of misinformation in circulation.

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.

Donating to a museum

Donating to a museum

by | Tips for collectors

5 steps

Donating your ethnic jewellery collection to a museum

Updated Feb 20, 2025

Thinking of donating your jewellery collection to a museum? That is fabulous! Donating it to a museum is a great way to ensure this heritage is preserved for future generations. But even so, it’s not a decision made lightly, as you entrust the passion of your lifetime to someone else. Therefore, it is very important to explore and carefully weigh your options, so you can decide on a well-informed basis where your collection should go.

I would advise to start that process well in advance, as not every donation is automatically accepted by museums. So how to go about that…?

Here are 5 clear, actionable steps towards donating your jewellery collection.

Step 1: evaluate your reasons

Start by evaluating your reasons for wanting to donate your jewellery collection. For example, you could be downsizing as a result of moving to a smaller home: that happens quite often. Donating for tax reasons is also not unheard of: sizeable donations may come with tax benefits.

When your heirs are not all that interested in your life’s work, the question what should happen to it after you’ve gone becomes all the more pressing, and knowing your collection is safe and cared for provides much needed peace of mind.

What do you envisage their future to be? Do you see them in a jewellery museum, in an ethnographic museum, in an art museum, and could that also be a museum in the communities that these pieces culturally form part of?

Last, but certainly not least, there is your personality to take into account: do you see yourself taking family and friends to a museum to show them your contribution glinting in a showcase, or are you more of a ‘behind-the-scenes’-person?

Just to be clear, both are fine! I can tell you from experience it’s extremely cool to see your jewellery displayed in an actual museum, and also that it’s very, very rewarding to be donating anonymously. When it comes to managing your own expectations, it is very useful to pause for a moment and consider why you would like to donate – do you want to get anything out of it and if so, what would that be?

Once you have a view on the ‘why’ of your plan to donate, it will become easier to find an institution that aligns with your values.

Step 2: contact the museum you have in mind

Ask after their guidelines, policies, criteria and procedures for accepting donations – some museums already have all of this on their website.

Bear in mind that not all museums accept everything: they may decide to accept only a few pieces and leave the rest. And that is a sound decision on their part! Because if all museums accepted everything that was ever collected, what would that mean in terms of storage space and longtime care…?

Contacting the museum of your choice well in advance will be helpful as it allows you to prepare your donation, or to start looking for other museums if your donation should not be a good match.

Don’t forget to ask away when you have contacted a curator to discuss possibilities: what is the museum’s view on deaccession? Do they have plans in place for an open-access database? Will your collection be mainly in storage as reference collection, or will it be visible (even if it is just digitally)?

Step 3: consider tax implications

Donating your collection may have tax implications (both positive and negative), so these should be discussed at an early stage. Getting an appraisal may be useful for tax purposes as well as for providing the museum of your choice with an indication of the value of your donation.

Not every museum requires this though, and you could also decide to simply donate it because of the contribution you’ll make to a shared heritage. Note that laws and legislation vary per country, so consult your tax advisor as well as the museum on this in an early stage.

Step 4: have your documentation up to date

Now this is an important point: increasingly, you’ll be asked to provide documentation of your jewellery, such as its provenance, as well as identifications of the pieces you’re donating.

Museums do not always have the resources available to work on an identification of your pieces themselves, due to budget and time constraints. Notably the provenance documentation will grow in importance over the coming decades.

An up-to-date registration of your collection is also useful in for example an overview of the materials that it consists of: are there materials that require special care in storage?

Another possibility to consider here is making your documentation part of the donation itself. If you own, for example, a library on the topic of your collection (jewellery books, anyone?), adding these to a museum library will effectively turn that into a specialized research library that will benefit students and scholars alike.

Many museums host book sales to support their library or other budgets: any double copies could be sold, and they would still end up in the most appreciating hands.

Worried about that documentation? Check out this free resource on how to get started, or see if the course Organising Your Collection is something for you!

Step 5: talk about terms and conditions you may have for your donation

If you have specific conditions in mind on how your jewellery can or cannot be displayed or used, be sure to discuss these with the museum in advance. Is it enough for you if your collection is not put on display, but available to whoever wants to study it? Do you want your name attached to your collection?

It’s good to be aware that some museums accept only unconditional gifts, meaning they can do with your collection as they please. That may include selling parts of it.

Too many restrictive conditions will make it less desirable for a museum to accept your donation, so this is a point that requires careful consideration and negotiation.

The main thing to keep in mind when donating your collection though is the inevitable transfer from ‘your’ collection to ‘their’ collection. That can be a tough one: a museum may not value the pieces you love the most in the same way you do, and once the collection has been donated, it is no longer yours.

Donating your ethnic jewellery collection to a museum: peace of mind

But when a curator has taken the time to walk you through the donation process, explained the possible future of your pieces in the collection (including deaccession), or made a selection of pieces that are truly an addition to the museum, you can rest assured you will have done everything you can to give your collection a secure, meaningful future.

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Never miss a thing on jewellery discoveries? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management? Check this free resource or download the e-book!

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.

What is ‘research’?

What is ‘research’?

by | Opinion

learning about jewellery

What is ‘research’?

Updated Jan 9, 2024

Giving it to you straight: searching online for half an hour is not ‘research’.

Because as I wrote earlier, your online search results are first of all determined by the language you use to search in (see more about that and how to navigate languages here). Second, the results shown to you are filtered themselves, based on popularity…so you see how that is scratching the surface of everything there is to explore.

Research is the many years spent comparing, finding parallels, diving deep into the cultural background of adornment, speaking with original wearers, learning vernacular names and oral histories, understanding how adornment functions in the world that it comes from.

Don’t get me wrong, the digital world is an excellent place to start! After all, that is where you found me, and there are many platforms and sites that we can all benefit from. My point is that this beautiful online world should be a starting point, there is much more out there. So, here are 5 pointers.

Jewellery research: visit museums and galleries

If you can at all, visit museums and galleries. This is a great way to see many different pieces, from the perfect to the ordinary, and to study techniques and materials used.

An advantage of galleries is that many owners will let you handle pieces, so you can get a feel for their weight and execution. I have learned so much sitting on gallery floors! (it’s not that they don’t offer chairs….somehow I always end up sitting on the floor, surrounded by jewellery)

Another excellent way to learn is to visit other collectors: nothing beats a shared passion for jewellery.

Jewellery research: read

Reading articles and books is so incredibly important, especially scholarly ones. Now these latter are notoriously hard to get by, although more and more academic publishers are seeing the benefits of open access publishing. Look for sources on sites like academia.edu: with a free account, there is much to be found here.

Check your local library, and if you are living near a university, see if their library offers access to a reading room – they probably won’t let you take books home, but some universities actually welcome a larger audience. Museum libraries are a great resource, too!

Jewellery research: read about more than just jewellery

Bear with me: reading about more than jewellery does make sense. After all, jewellery is part of the society that produced it, so diving into its world will help you understand your jewellery better.

When I was preparing my online courses, I found myself reading everything from micro-economic developments to ancient stargazing, and from ancient history to marriage dynamics. Honestly, it’s fascinating!

Jewellery research: talk with people

Attend lectures, workshops, seminars….and ask questions! There are so many possibilities these days, both online and offline, to speak with experts in the field of jewellery.

Attending talks by curators, historians or other experts can provide valuable insights, and if these are live-events, you get to meet other jewellery enthousiasts, too!

But even more important is to talk with people from the communities that this jewellery is part of. Ask, listen, and learn what this jewellery means to its original community.

Jewellery research: yes…do use online resources

That’s what they’re here for! My advice however would be to be aware of the credibility of the source you’re using: who is the author? Is there any form of reference backing up claims? Do you keep finding the same tidbit of information over and over again? That almost certainly points to copy-paste behaviour to fill a blog quickly, or worse, the use of an AI like ChatGPT – you may want to dig a little deeper.

Jewellery research: a neverending story

Finally, research is an ongoing process. It literally never ends. Your views may change as new information surfaces, and your understanding of jewellery may shift continously. But that, in my view, is the beauty of it: I’ve been in this field for over 25 years now and still learn something new every day!

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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.