Khalili eye beads: Palestinian glass beads from Hebron

Khalili eye beads: Palestinian glass beads from Hebron

Glass eye beads from Hebron

Khalili eye beads: Palestinian glass beads from Hebron

Updated October 1, 2025

Eye beads are among the most recognisable amulets in the Middle East, but Palestine has its own distinctive variation: the Khalili beads of Hebron (al-Khalil). Produced in the city’s glass workshops during the 19th and early 29th century, these beads were made in many sizes, often with local names like “rooster’s eye” or “camel’s eye.” They were so popular that they were sold far and wide.

Today, Khalili beads survive in museum collections and family heirlooms, offering insight into Palestinian glasswork, jewellery traditions, and protective beliefs. In this blog, part of my series on amulets in jewellery, we’ll take a closer look at how these unique beads were made, used, and understood.

The origin of Khalili eye beads in Hebron (al-Khalil)

The Arabic name of Hebron is al-Khalil. This is how the town was known to its Arab-speaking inhabitants. That’s an important observation to make, because the name of these beads is derived from the place where they were made. These beads are called khalili: from al-Khalil.

A photo in National Geographic Magazine of April 1934 pictures a glass workshop in Hebron, where strands of such eye beads dangle from wooden racks. [1] This image is shown below, click to enlarge: I have this volume in my library, and added a dash of blue to guide your eye to the beads – do you spot the glass vessels on the tray in front of them?

How to recognise Palestinian Khalili glass eye beads

What do Khalili eye beads look like? They are flat beads of a circular shape. In the centre, you’ll have a white glass disc with a black dot of glass in its centre. Around that, concentric rings of glass were added. Garcia Probert describes in them in detail in her book on the Tawfik Canaan collection: the outer circle could be executed in blue, green or black; the second one would be yellow or orange. [2]

They work along the same lines as other eye beads: see this blog post for a quick introduction on the cultural context of eye beads and how they are supposed to work.

Sizes and local names of Khalili eye beads

These eye beads from Hebron were produced in several sizes: you could say they existed in small, medium and large varieties. And these sizes each had their own name.  The small ones are called ‘rooster’s eye’ or ‘ayn al-dik. The medium-sized ones are called ‘ayn al-qa’ud: dromedary eye. And the big ones are named after camel eyes, ‘ayn al-gamal. [3] Beads without a black dot for a pupil, so just consisting of a white centre with coloured circles around that, are called ‘ayn amya. [4]

How would you decide which one to pick? Garcia Probert suggests that the size of the bead may be related to the severity of the symptoms of someone in need of an eye amulet: big issues, big beads. [5]. And while I totally see how that could work, I think the choice for a particular size could also be inspired by what you would be using it in, and maybe your budget would also play a role here.

Assuming that smaller beads cost less than big ones, maybe a small bead could be all someone could afford. And then there is how you would be wearing it. An inconspicuous small bead attached to a dress would still be effective against the evil eye, and a larger bead threaded on a necklace would also double as adornment. So, how were they used…?

Khalili beads in museum collections

A significant obstacle to understanding these beads is that we know them mostly in collected context. The beads we find in museum collections seem to have been purchased directly from the sellers of such beads. And that is not just in Palestine: these beads were very popular and were exported to, for example, Istanbul and Venice.

The collection of the Pitt Rivers Museum in Oxford holds Khalili eye beads that have been purchased in Hebron itself, in Jerusalem, but also in Istanbul and Italy. What I noticed about these, is that they are usually strung together as 4 or 5 beads or so. You can’t wear them that way, it looks as if they come straight from a bead seller.

Only in a few cases do you see a complete strand of them, labeled as ‘necklace’ – but is it? The first strand shown above is labeled as ‘necklace’ in the database of the British Museum, but with a length of 19,5 centimetres they’re on the short side for necklaces. Larger strands exist as well, such as the other one shown above, which measures 41 centimetres. As you see on the image above of the bead seller, he has indeed various lengths on offer.

Were Khalili beads worn in jewellery?

What evidence can we find of these beads being used? I went through a stack of resources to see if there is anything showing these beads being used in jewellery: collections of jewellery from Southwest Asia, and old photographs.

I found that, unlike the saba ‘uyun beads, Khalili beads do not seem to have been worked into jewellery and dress all that much: you will not find them set in silver, in for example a pendant or ring, or worked into necklaces, whereas the saba ‘uyun or Seven Eyes beads feature heavily in jewellery. There are plenty of jewels made of blue beads, but these particular beads are not part of those.

What is more, going over lots of old photographs, I saw no one wearing bracelets or necklaces made of Khalili eye beads, while beaded jewellery in general is abundantly available – apparently, strung together as we find them in museums was not the mainstream way of wearing these things.

Yet, these beads were produced in the thousands….they have must have been used somehow!

Khalili eye beads as amulets against the Evil Eye

And then I found them in use! The British Museum has two amulets in its collection that feature a Khalili eye bead as part of their design: in fact, these beads sit in the centre of the amulet. In that respect, the little note with two of these beads I photographed in the Pitt Rivers Museum in Oxford (in the gallery above, click to enlarge) is also interesting: this labels the beads as ‘amulets’. So instead of complete ‘necklaces’ that help fight the evil eye, these beads seem to have been produced as individual eye-catchers (pun intended, sorry).

Explore the meaning of beads against the Evil Eye in this main article

Unanswered questions about Palestinian eye beads

I wonder if the Palestinian eye beads as we see them in museums today could not rather be strands as they come from the seller, instead of finished jewels as they are often labeled now.

The eye beads are, to my current knowledge, not present in regular jewellery and not visibly worn as complete necklaces or bracelets. They do occur as parts of amulets, and so I can’t help but wonder if we might find these attached to dress or veils, amulets hung on children’s cribs, attached perhaps to bonnets of babies….instead of used in jewellery.

And that is interesting to me in itself: apparently, this type of bead is not something you’d make jewellery of.

I’ll be on the lookout for them: if you spot one, please drop me a line? I’m very interested to learn what you make of these: together, we always see more!

Frequently Asked Questions about Palestinian eye beads

What are Khalili eye beads?
Khalili eye beads are glass beads produced in Hebron (al-Khalil), Palestine. They were made with eye-like designs and believed to protect against the evil eye.

Why are Palestinian eye beads called Khalili beads?
They are named after their place of origin, Hebron, which is called al-Khalil in Arabic. The city was known for its glass workshops that specialised in bead production.

Did people wear Palestinian Khalili eye beads as jewellery?
Research has shown that they were generally not used in jewellery such as necklaces or bracelets. Instead, they may have been carried as amulets, hung in homes, or kept as protective objects.

Why do Khalili beads come in different sizes?
The beads ranged from small versions to very large ones, with local names such as “rooster’s eye” and “camel’s eye.” These variations likely reflected different symbolic uses or preferences.

Where can Palestinian Khalili eye beads be found today?
Production ceased in the 20th century. They survive in museum collections, including the British Museum and Pitt Rivers Museum, as well as in family heirlooms passed down through generations.

Palestinian Khalili glass eye beads: meaningful beads

Khalili eye beads show how Palestinian glassmakers contributed to the long tradition of amulets against the evil eye. Their varied shapes, sizes, and names reveal how deeply these beads were woven into everyday life, from workshop production to personal adornment. While not always worn in jewellery, they remain powerful reminders of how people in Palestine sought protection through the objects they carried and kept close.

This blog is part of my series on amulets in jewellery — alongside posts for example on triangular amulets, glass amulets, and clove necklaces. Together, these stories show how materials as different as glass, cloves, and silver were all drawn into the shared human desire for protection and meaning.


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References

[1] National Geographic Magazine, vol. LXV (1934), no. 4, p. 513

[2] Garcia Probert, M. 2021. Exploring the life of amulets in Palestine. PhD thesis, Leiden University, p. 80-81

[3] Garcia Probert, M. 2021. Exploring the life of amulets in Palestine. PhD thesis, Leiden University, p. 81

[4] Garcia Probert, M. 2021. Exploring the life of amulets in Palestine. PhD thesis, Leiden University, p. 81

[5] Garcia Probert, M. 2021. Exploring the life of amulets in Palestine. PhD thesis, Leiden University, p. 81

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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, and obtained her PhD at Leiden University on the jewellery of the Egyptian zar-ritual. 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 Palestinian wuqaya

A Palestinian wuqaya

jewellery of Palestine

Traditional Palestinian headdress: wuqaya

Published Dec 20, 2023

This is a beautiful headdress from Palestine, called a wuqaya. It was worn in the area of Jerusalem and Ramallah. [1] It would be placed under the headveil, with the coin fringe showing on the forehead.

Wuqaya: design and wear

In the image above (click to enlarge it) you’ll see how it is designed: a more or less square piece of cloth with a central embroidered panel. Below the chin, a series of chains and other coins dangle. The headdress has a beaded border in red and blue, and a double row of coins. According to Weir, this headdress was probably worn by girls [2].

Wuqaya: the coin fringe

The coins on this headdress may tell us a lot about the wearer herself, and the world she lived in.

The number of coins usually reflects the wealth of the wearer. That is because the silver in these coins used to be what made them valuable. From this tradition, the use of displaying coins became standard.

Also when the wearer was not that affluent: all of the coins on this particular headdress are imitation coins in brass. Note the detail with which the coin fringe begins. Starting in the centre, the coins fall in two directions: a red fabric detail covers the part where they part ways. It also ensures the first two coins stay in place.

Brass coins for the headdress of an unmarried girl make sense: she would not have had a large fortune of her own yet. This would become hers upon marriage: learn how that works here.

‘Brass coins on the headdress of an unmarried girl make sense’

Palestinian wuqaya: the chainwork

This particular wuqaya also shows chainwork. This is attached so it would fall below the chin, not unlike the chin-chain from Bethlehem presented in this post. This seems to be a later addition to this piece: the chainwork is irregular, mismatched and seems to have been added rather haphazardly.  

None of the headdresses published seem to have such an addition: it may come from another type of headdress, and used as embellishment of this one.

Its addition is also strange in light of who would be wearing this headdress. Such a set of chainwork is usually reserved for headdresses of married women. They would carry silver coins and display her wealth. This wuqaya however was worn by girls who had not yet acquired such wealth.

A German token coin in Palestine

The central pendant on the chin-chain carries a German text. You’ll see it in more detail on the photo above: click to enlarge it. ‘Spielmarke’ means a token. But this pendant is not as random as it might seem. On its other side, it shows a double-headed eagle. This resembles many actual coins from the period, notably the Maria Theresia Thaler.

The Maria Theresia Thaler was among the most popular coins in the Middle East and far beyond, because of its guaranteed high silver content. You will find these coins on many pieces of jewellery throughout North Africa and Southwest Asia.

Around the border however, it reads ‘Neurenberger Spiel und Rechenpfennig’. These were exported on a large scale to the Ottoman world. As they were much valued substitutes for actual coins, you will find many of these on dresses, veils and other objects of personal adornment.⁠⁠

The wuqaya: between girl and woman

According to Weir [3] this headdress was worn by girls who had reached puberty. That was an age on which girls would marry: in the area around Hebron/al Khalil, a large coin such as a Maria Theresia Thaler would be attached to the wuqaya to indicate the girl was ready to get married.

This headdress would accompany a girl during her transition from unmarried girl into married woman: an important step in her life’s journey.

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Reference1

[1] Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 277.

[2] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 177.

[3] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 176.

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S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

Parfums d’Orient

Parfums d’Orient

Institut du Monde Arabe

Parfums d’Orient

Fragrance has always been important in North Africa and the Middle East. It plays a crucial role on many levels, a theme I explored in my book Silver & Frankincense. So you can imagine my excitement when the Institut du Monde Arabe in Paris presented their exhibition Parfums d’Orient: I had to go and see it!

Fragrance: a long history

The exhibition starts out with the history of perfume and perfume-making. As it was a well-visited exhibition, I had to wait a little before I could see the showcases, and while I looked around, I caught a whiff of something….roses? Was I imagining things? There were large photographs of the rose harvest in Morocco on the wall, so perhaps I got carried away before my visit had well and truly started?

The mystery was quickly solved when I approached the first showcases. These showed early incense burners, explained how the trade in frankincense brought prosperity to the Arab Peninsula and how fragrances like musk, oudh, ambergris and frankincense became prized goods in the ancient world. And with the showcases were beautifully designed dispensers that allowed visitors to smell each of these fragrances. Not too much and certainly not too heavy, but just enough to leave a hint of perfume lingering in the air.

Large cylinders with rose petals and saffron added a visual element to fragrance: with a click of a button, the petals whizzed around in their glass cylinders while a puff of scent was released. The video below shows what that looked like. To me, it was a beautiful visual companion to the photographs of the rose harvest I mentioned earlier, and a perfect start of the visit to get in the mood for perfumes.

Perfume and economics

From these first scents, the exhibition continues to the smells of everyday life. A small corner with tanned leather allows you to explore the foul smell of that process (and if you have visited the tanneries of Fez or Marrakech for example, you’ll know what I mean…!).

Large photographs of incense and perfume merchants in Oman tell the story of trade and commerce. Here, one of the explanations read that the souqs in Oman were the last place where fragrances were created in the traditional style, but I do seem to recall seeing that in Marrakech for example, too: there is hope yet for the traditional way of creating perfumes.

Perfume: science and creating

From the souq, we move on to the scientific processes behind distillation and evaporation. This was invented in the Middle Ages, and I absolutely loved seeing a replica of a distilling device next to a medieval manuscript depicting just such a thing. Medieval glass vessels show the craftmanship behind this scientific approach.

This part continues with the art of blending fragrances. Here again, the visitor experience is central: a ‘smelling station’ allows you to follow the buildup of three different fragrances, from the base notes, through the heart, to the top notes. It was a wonderfully layered experience to smell the ingredients coming together!

Perfume: home and guests

From the fields of roses and the streets of the souqs, the exhibition then continues into the home. Here, we learn of the importance of cleanliness and appearing well-groomed. Perfuming guests and hospitality are beautifully and evocatively illustrated, again with fragrance gently surrounding the visitor.

Home fragrances are also extended into the domain of cooking and spices: many ingredients in perfume are also used in medicine and the kitchen.

Fragrance: intimacy and beauty

In the last space, we enter the most private sphere: that of individual care and intimacy. Fragrance is an important agent in the intimacy of marriage for example. Jewellery designed to hold perfume or made of fragrant substances itself is also shown, like the necklace of scented beads from Tunisia, or the fibula with a small box for scented material, both in the gallery above (click on the image to enlarge the photo).

And finally, at the end of the exhibition, we take our leave as honoured guests: a small dispenser at the end of the exhibition drips perfume into the palm of our hand. A scent that stayed with me for hours, and illustrated how perfume connects. On the metro ride home, I caught a faint whiff of that same perfume…

…and sure enough, a fellow passenger carried a bag with the Institut du Monde Arabe-logo on it. We looked at each other and smiled. For a brief and fleeting moment, we were no longer strangers on the subway, but connected by our shared experience of a museum visit, and recognizing each other by our perfume.

Parfums d’Orient: a multi-layered exhibition

This exhibition was absolutely stunning. I loved how it combined seeing and smelling into one experience. The whizzing rose petals next to a large photo, the size of the photographs of the Omani souqs that transport the visitor, the combination of medieval manuscripts with replicas and layered scents…there is so much to see, learn and experience.

As a visitor, you do not need to worry this is too much of a ‘smell-fest’: should you wish to smell a particular scent, you’ll need to push a button that releases a small puff. It creates a moment of intimacy rather than abundance.

Besides smell, images and objects, throughout the exhibition you will encounter modern art woven into the storylines in a very natural way. Modern glass containers stand next to Fatimid crystal, an artwork evokes incense smoke whirling upwards, a colourful tapestry is actually entirely made of spices.

The exhibition shows how fragrance carries meaning, and continues to do so. From the ancient world to our day and age, this journey through the world of perfume is a journey through being human: the things we fear, the joy we feel, the discoveries we make, the natural world around us. Highly recommended: enjoy this sensory journey!

Parfums d’Orient: Sept 26, 2023 – March 17, 2024.

Institut du Monde Arabe, Paris. See more info on their website here.

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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.

Palestine jewels: Bethlehem

Palestine jewels: Bethlehem

jewellery of Palestine

Traditional Palestinian jewellery: Bethlehem

Updated August 25, 2024

Bethlehem and its surrounding region are home to a recognizable tradition in dress and adornment. In this blog, I’ll show you the most common elements of Bethlehem adornment – with photographs that rarely have been published elsewhere.

Bethlehem and surrounding villages

The town of Bethlehem is located on the West Bank, to the south of Jerusalem. In the immediate vicinity are many smaller villages, which share a similar personal attire. These similarities are visible in a wider area. The photograph shown above (click on the image to enlarge it) is in the collection of the Netherlands Institute for the Near East, Leiden. It shows women in the village of Lifta, which is to the north of Jerusalem, dressed in the same dress and jewellery as women in Bethlehem. [1]

Bethlehem headdress: shatweh and taqiyeh

Married women in Bethlehem and the surrounding villages of Beit Jala, Lifta and Beit Sahur wore a headdress called shatweh. [2] This is a conical shaped headdress, densely embroidered on the outside and decorated with coins and coral beads.

Two examples of the shatweh are included in the gallery above: click on the images to enlarge them.

The coins could be either gold or silver, and wealthier people were reported to own two of these: one with gold for festive days, and one with silver for every day wear. However, in most cases wear of this headdress was limited to festive occasions such as weddings. [3] The Frank Scholten archive, containing photographs made between 1921 and 1923, shows many women in Bethlehem of which only few wear the shatweh.

Unmarried girls wore a smaller headdress, known as qurs or taqiyeh.[4] This was a type of bonnet, tied under the chin or under the hair with strings, and embellished with embroidery and coins. An example of this can be seen in the gallery above: click on the photo to enlarge. Both headdresses were covered with a cream-coloured veil of flowing silk. [5]

A forehead ornament of small hand amulets, called khamassiyat after these hands, was worn in the wider area of Bethlehem, Jerusalem and the Jordan Valley. [6] A photo of such an ornament is in the galley below: click on the image to enlarge.

Traditional jewellery of Bethlehem: bracelets

The most used jewellery in the Bethlehem area were bracelets called haydari. Their use is not limited to the Bethlehem region: they are also found in Jaffa and el-Khalil. Bracelets like these were worn in pairs, and it is not uncommon to find women wearing several bracelets stacks on each wrist.

An example can be seen in the photograph by Frank Scholten above (click on the image to enlarge – also it’s not your Internet connection, this photo of a century old is a bit unfocused). The haydari bracelets are solid silver, and were produced in both Bethlehem itself and Jerusalem.

Other bracelets also worn in this area are the bracelets of a twisted band, called mabroum, and bangles with little dots called ‘lentil’-bracelets because of their resemblance to lentils. [7]

The Star of Bethlehem: shining in silver

A remarkable and very typical piece of adornment for this region is the silver chin-chain. This was called iznaq saba’ arwah, or ‘seven spirits’. The chin-chain was made of solid silver links, most often adding up to six or seven strands, which were connected in the centre by a star-shaped ornament.

The star was also referred to as the Star of Bethlehem. [8] From the set of chains, a central coin was suspended. Depending on the wealth of the wearer, the set of chains could be embellished further with multiple coins. The chin-chain was hooked into the shatweh headdress, and floated across the chest of the wearer.

Finnish researcher Hilma Granqvist was dressed up by her hosts in traditional bridal attire when visiting Bethlehem [9]. On the photo, which you see above, she wears a low shatweh headdress and the chin-chain ornament.

The chin-chain ornament was worn widely in the region of Bethlehem, too, as the image of the two women from Lifta at the top of this post shows. But as these were expensive pieces, they were not worn every day, and may even have been borrowed on festive occasions from wealthier family members. [10]

The photographs in the Hilma Granqvist archive show many women in everyday activities dressed in the Bethlehem thobe and wearing their bracelets, but without the festive shatweh headdress and accompanying chin-chain.

A rich heritage

The traditional jewellery of Bethlehem shows the splendour of the heritage of this town and its surrounding villages. The shatweh has become iconic for Palestinian dress and adornment. It is a heritage to be celebrated!

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References

[1] NINO Leiden, Böhl-collection.

[2] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 181.

[3] Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 284.

[4] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 182-183.

[5] Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 284.

[6] Rajab, J. 1989. Palestinian Costume, p. 115.

[7] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 199.

[8] Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 302.

[x9 Hägmann, S. 2023. Dedicated to Palestine. The life and work of ethnologist Hilma Granqvist, p. 96.

[10] For Artas, this practice is mentioned in Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 284. Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 194 mentions that in most villages, chin-chains were only one or two strands instead of six or seven: this was reserved for wealthy persons in Bethlehem.

See the digital archive of Hilma Granqvist here.

See the digital archive of Frank Scholten here.

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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.

Ancient jewellery: Palestine

Ancient jewellery: Palestine

levantine jewellery history

Ancient Palestinian jewellery

Updated March 9, 2025

What is the history of traditional jewellery in North Africa and the Middle East? Historical context and cultural heritage have left their traces in the traditional jewellery worn in countries as we know them today, and so this blog series takes us back to the distant past. In this blog, I will look at jewellery history in Palestine: the region of Historic Palestine and Greater Syria, which since 1948 includes Israel.  What is the history of Palestinian jewellery in very broad strokes?

Ancient trade and historic Palestine

Historic Palestine is situated on the shores of the Mediterranean. Here, trade routes coming over land from the Arab Peninsula and Central Asia connected with those coming from Egypt. The sea routes over the Mediterranean also included Palestinian ports. As in most of the eastern Mediterranean, influences from Western Asia met directly with southern European and northern African cultures, resulting in a pluriform world.

Tell el-Ajjul, near the modern city of Gaza, was one of the principal cities in the southern Levant as it was strategically located on the main route through Sinai into Egypt, near the Mediterranean coast as well as on an intersection with trade routes coming from Syria.

Bronze Age Palestine: gold jewellery and glass beads

Tell el-Ajjul for example was a place where gold jewellery was produced in the late Bronze Age. [1] Here, three hoards were found, which reflect these international relations in their variety of styles. Some of the jewellery items are clearly Egyptian, such as rings with scarabs. Others are based on more local Canaanite traditions, such as the triangular pendant with a goddess, of which parallels have been found in Syria as well as on the Uluburun shipwreck. Several earrings and a crescent pendant are reminiscent of jewellery still worn today.

Jewellery based on Egyptian examples, such as scarabs and other Egyptian amulets is found widely in Palestine from ca 1500 BCE onwards: this is the timeframe in which the pharaohs extended their empire into the Levant.

In Bisan, also known as Beit She’an, over 1,500 glass and faience beads were excavated within a temple site. [2] While the majority of the glass and faience beads were of Egyptian production methods and style, they were strung together with beads and ornaments that referred to Canaanite gods and goddesses.

Silver jewellery hoards in historic Palestine

Besides gold jewellery and glass beads, several hoards of silver have been found throughout Palestine as well. [3] These date from the 12th century BCE to the 6th century BCE and tell us a great deal about trade and contacts. The origin of the silver itself in these hoards has been analyzed, and this showed two notable facts. [4]

First, the silver was melted down and reworked several times. This is a custom that is widespread throughout Southwest Asia and North Africa, as precious metals were valuable and reused when needed.

Second, the origins of the silver found in these hoards are Anatolia, the Aegean and, perhaps more surprising, the western Mediterranean – the Iberian Peninsula, or Sardinia. This points to a trade contact from west to east and illustrates the wide reach of trade networks in the late Bronze and early Iron Age.

Glass jewellery production in al Khalil [Hebron] and the coastal regions

Palestine was a major region of glass production during the first millennium CE.[5] Here, glass finger rings, beads, pendants and bracelets were created. Pilgrim souvenirs made of glass catered to Christian worshippers [6].

Glass jewellery continued to be created during the Middle Ages, when for example the use of glass bracelets increased exponentially. Fragments of bracelets are regularly found at excavation sites, but are not often well understood. Their method of production, just like beads, did not change significantly for a long time. This makes them difficult to date: it is the excavation stratigraphy that provides a date for the bracelet fragments. [7]

One of the locations that was famous for its glass production until the last century was al Khalil, also known as Hebron. Here, the glass industry dates back at least two millennia. Glass beads have been produced here as well, at least since the Middle Ages, and a 1799 travel account mentions the coarse glass beads that were created in Hebron and traded to East Africa. Glass bracelets made in Palestine were considered an indispensable part of a bride’s dowry in 1920s southern Palestine.⁠ [8]

This blog will continue with the traditional silver jewellery of Palestine: Bethlehem.


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References

[1] McGovern, E. 1980. Ornamental and Amuletic Jewelry Pendants of Late Bronze Age Palestine. An Archaeological Study. PhD-thesis, University of Pennsylvania

[2] McGovern, E., S.J. Stuart & C.P. Swann. The Late Bronze Egyptian Garrison at Beth Shan: Glass and Faience Production and Importation in the Late New Kingdom, in: Bulletin of the American Schools of Oriental Research, 1993-05-01, Vol.290 (290/291), p.1-27

[3] Taha, H., A. Pol & G. Van der Kooij 2006. A Hoard of Silver Coins at Qabatiya, Palestine. Ministry of Tourism and Antiquities, Ramallah

[4] Wood, J., I. Montero-Ruiz & M. Martinón-Torres. From Iberia to the Southern Levant: the Movement of Silver Across the Mediterranean in the Early Iron Age, in: Journal of World Prehistory (2019) 32, p. 1-31

[5] Freestone, I. C. Glass Production in the First Millennium CE; A Compositional Perspective, in: Klimscha, F. et al (eds) 2021. From Artificial Stone to Translucent Mass-Product. Berlin Studies of the Ancient World, 67, p. 245-246

[6] Schwarzer, H. & T. Rehren. Glass Finds From Pergamon. A Report on the Results of Recent Archaeologic and Archaeometric Research, in: Klimscha, F. et al (eds) 2021. From Artificial Stone to Translucent Mass-Product. Berlin Studies of the Ancient World, 67, p. 181

[7] See for a short excursion into glass bracelets from Sinai for example Shindo, Y. 2001. The classification and chronology of Islamic glass bracelets from al-Tur, Sinai, in: Senri Ethnological Studies vol. 55, pp. 73-100

[8] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London

This is an updated, adapted and expanded version of an earlier blog post I wrote for the Zay Initiative.

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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.