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

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

by | Objects

The power of spices

Cloves in jewellery from North Africa & the Middle East

Updated September 19, 2025

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

What are cloves used for in history and medicine?

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

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

Cloves in jewellery across North Africa & the Middle East

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

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

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

Cloves and Palestinian wedding traditions

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

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

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

Cloves as amulets in Palestinian culture

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

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

Clove jewellery as a sign of marriage and intimacy

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

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

Clove jewellery: fleeting scent, enduring heritage

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

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

Frequently Asked Questions about clove jewellery

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

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

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

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

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

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References

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

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

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

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

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

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

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

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

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

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

Scented paste jewellery of North Africa

Scented paste jewellery of North Africa

by | Objects

Skhab beads

Scented paste jewellery of North Africa

Updated November 25, 2024

Beads made of scented paste—known in the Maghreb as skhab—are among the most evocative items of personal adornment in North Africa. In this blog post I explore scented‑paste jewellery from Tunisia and Algeria, examining how fragrance, craft and cultural meaning come together in these unique beads. Rather than a simple inventory of pieces, we’ll look at their making, their wearing, and their place in Maghrebi social life.

Wearing scent: origins and cultural context in the Maghreb

Why wear scented jewellery in the first place? For this, we need to look at the role fragrance plays culturally. Fragrance in North Africa is much more than just spritzing on a perfume.

In informal religion, scent was considered powerful as an amulet. Incense in general was believed to keep malevolent spirits at a distance. [1] And because agreeable scents were seen as a manifestation of benign beings, wearing fragrance was a powerful way of keeping evil away.

The use of scent and personal grooming falls in the category of ‘recommended’ behaviour for Muslims, although its application varies per branch of Islam. Several hadīth underline the beneficial effects of perfume, relating how the Prophet also scented his clothing by fumigation and never refused perfumes. [2]

On important religious occasions, personal cleanliness was mandatory. This extended not only to the body, but also to clothing worn: an example from early 20th century Morocco observes that clothing was perfumed with rosewater and orange blossom water or fumigated with incense. [3]

Photocollage showing antique photo of a Tunisian woman and scented herbs, woods and flowers
Necklace of scented beads from Tunisia, with gold beads.

Scented paste in the Maghreb: beads

In Tunisia and Algeria, and to a lesser extent in Morocco and Libya as well, scent was added to jewellery in a beautiful way. [4] Here, a scented paste is worked into beads, generally called skhab. [5]

The beads were produced at home, but you could also buy them in specialized ateliers in the sūqs. In home production, recipes were handed down from mother to daughter and adapted to personal tastes. [6] As a result, the fragrance of these beads would be the signature scent of the wearer and her family.

Collage of a vintage photo of an Algerian lady mixing herbs against a background of colourful flowers and herbs.

The craft of skhab: ingredients

What did these beads smell like…? The bouquet itself was created by carefully selecting and combining aromatic ingredients. Cedarwood, sandalwood and ‘ūd created warm woody undertones. Cloves, saffron, rosemary and thyme were among the herbs used to add a spicy layer, while roses, preferably the strong scenting Rosa damascena, jasmine, lavender and patchouli added floral notes.

All of these were dried and pulverized. Pulverizing itself would take up a significant amount of time, as the powder had to be as finely ground as possible.

This was before the blender existed: everything had to be ground by hand! You’d want the fragrant powder to be as fine as possible: any larger lumps would present a problem in the polishing of the beads, later in the process.

So, after much grinding and regrinding, the fragrant powder was then slowly mixed with rosewater or orange blossom water.

When all of the water was absorbed, and this could take up to a week (!) it would be ground again. That procedure was repeated until a paste was created. [7]

Finally, a binding agent such as odoriferous resin, date paste or Arabic gum was added. You would boil the mixture slowly on a low fire, until it turned into a smooth paste.

Scented paste of North Africa: bead-making

While the paste was still warm, and gave off its sumptuous scent, women would start shaping the beads. The simplest beads were spherical, but experienced hands created a variety of shapes like hearts, fish, stars, crescents and flowers. Their size varied from tiny beads to quite sizable examples.

All these beads would be spread out on a tray and put somewhere to rest and dry, like in the window sill or on a table. Never in direct sunlight though: that would cause them to dry too fast and they would break.

When the beads had dried for a few days, they were still soft enough to be perforated, yet solid enough to keep their shape and not fall apart during the process.

After a month, the beads would be polished smooth and strung with a variety of other beads such as glass, coral, amber and silver into necklaces, or worn as earrings, hair ornaments and brooches. [8]

Creating these beads was an entirely female affair. It also served as introduction into a woman’s world for the daughters of the family: while wearing these beads was considered inappropriate for girls, the long days spent creating them was a time for chatting, gossiping and learning about the intimacies of married life.

Scented paste in adornment: hairstyles and bracelet lining

Scented paste was not only used for beads! Another practical way of applying it is on the inside of bracelets. The movements of the bracelet over the warm skin in would release the fragrance.

An additional benefit was that the thick layer of paste smoothed out any rough edges and prevented the skin from getting pinched between several heavy bracelets.

Remnants of this paste may sometimes still be visible on the inside of a bracelet: as this is not dirt, but an essential part of its life, I recommend checking for it before you start cleaning jewellery: see more about that here.

Scented paste was also worked into hairstyles, notably in Morocco: here, too, remnants of scented paste can still be found on ornaments worn in the hair. The gallery above shows such an example: click to enlarge the image, and see how the patches of ‘dirt’ may actually be leftovers from something that once smelled divine!

Social and ritual significance of scented paste beads: weddings and women

In Tunisia and Algeria, the scented beads were worn by a bride for the first time: their use is specifically for married women. They reflect the intimacy of married life and carry a strong connotation of sensuality.

The importance of these is well explained by an Algerian woman: ‘A woman that does not possess a necklace of scented beads, is not a woman’ – unmarried girls did not wear fragrant beads, as their sensual capacities were inappropriate for their social position. [9]

That these necklaces were more than just ornaments, is illustrated by the cultural restrictions surrounding their use. Algerian women did not wear their scented bead necklaces when their husband was away; when he was absent for a longer period of time, the necklaces were stored in a box.[10]

Even just showing them to female friends was done very privately: you would not want another man accidentally to catch a whiff of their scent. [11]

Sumptuous scented beads witha gold meskia perfume pendant
A beautiful gold meskia from Tunisia.

Scented paste beads today: tradition, production and trade

Today, the large necklaces with scented paste are still a very important part of weddings in the Maghreb. Scented beads are now mainly produced by specialized ateliers in the sūqs.[12] These ateliers run a good business, as procuring these beads is a necessity for engagement and wedding festivities. You’ll find them strung with lavish perfume containers known as meskia: see more about these delicious jewels here.

Wearing scented beads is an old tradition that is still in use, and that is much more than just aesthetics: perfume jewellery is a profound cultural expression.

More about the many uses of scent, wearing fragrant jewels and the art of incense fumigation is in the e-course Scents of the Middle East: a full exploration of the invisible side of adornment!

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

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Want to learn how fragrance plays a role in jewellery and adornment? My book Silver & Frankincense explores this in depth!

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References

[1] Interestingly, in early Christianity the opposite was the case: incense was believed to attract demons. This stance towards incense was related to the Roman practice of burning incense to honour the gods and the emperor, and only changed centuries later in Late Antiquity. See Lallemand 2008.

[2] Kanafani 1983, pp. 293-294.

[3] Westermarck 1911, p. 131.

[4] Mershen 2009, p. 59; Zimmerle 2014, pp. 416-417; Becker 2000, p. 182.

[5] According to Eudel’s Dictionnaire des Bijoux, the name is particularly used in Algeria and Tunisia for scented beads; in other regions it generally indicates a necklace.

[6] Filali 2001; Benfoughal 1997, p. 91-92.

[7] Opper 2015, p. 22. The process could take up to 40 days. See these videos by Charlotte Dakin-Norris to make your own!

[8] Opper 2015, p. 22.

[9] Tamzali 1984, p. 41; Benfoughal 1997, p. 139. In Algeria’s Kabylia, however, girls would wear a necklace made of amber called lūban or ‘incense’. Although the necklace itself did not carry scent, the name hints at the stage in life preceding the one in which she soon would wear real scented jewellery. Eudel 1906 Dictionnaire des Bijoux, p. 121.

[10] Benfoughal 1997, p. 139.

[11] Benfoughal 1997, p. 142.

[12] Gargouri-Sethom & Perez 2005, p. 123-125.

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

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

Parfums d’Orient: book

Parfums d’Orient: book

by | Reviews

Institut du Monde Arabe

Parfums d’Orient: the catalogue

Published on Jan 8, 2024

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

Ancient stone incense burner from the Arab Peninsula

Parfums d’Orient: the catalogue

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

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

Parfums d’Orient: the bounty of nature

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

Parfums d’Orient: perfuming oneself

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

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

Parfums d’Orient: fragrance and the invisible world

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

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

Parfums d’Orient: perfume in and around the house

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

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

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

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

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

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

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Explore the world of fragrance in the course Scents of the Middle East!

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Sigrid van Roode

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

Perfume jewels: meskia

Perfume jewels: meskia

by | Objects

Ottoman splendour

Perfume jewels: the meskia pendant

Updated Feb 19, 2024

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

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

What is a meskia?

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

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

Meskia: fragrance and faith

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

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

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

Style and execution: Ottoman luxury

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

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

Differences in meskia styles

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

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

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

Meskia: an urban jewel

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

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

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

The meskia today: an important wedding jewel

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

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

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Explore the world of fragrance in the course Scents of the Middle East!

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References

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

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

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

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

Would you like to quote this article? Please do! Here’s how:

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

Sigrid van Roode

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

Glanz und Geheimnis

Glanz und Geheimnis

by | Museums & Exhibitions

a stunning private collection

Glanz und Geheimnis

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

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

Bedouin Silver | Glanz und Geheimnis

Omani necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Oman

Yemeni necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Yemen

Palestinian chin-chain from the collection of Peter Hoesli

Glanz und Geheimnis | Palestine

Bedouin dresses in the exhibition Glanz und Geheimnis

Glanz und Geheimnis | Bedouin dresses

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

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

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

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

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

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

Glanz und Geheimnis/Shine and Mystery

Knauf Museum, Iphofen, Germany

March 26 – November 5, 2023

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More museum recommendations on personal adornment from North Africa & Southwest Asia? Browse them all 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.