What is dowry jewellery?

What is dowry jewellery?

by | Cultures & People

Middle Eastern weddings

What is dowry jewellery?

Published Feb 09, 2024

Dowry jewellery is hugely important in North Africa and Southwest Asia. Why is that, and what is dowry jewellery?

Dowry jewellery in the Middle East and North Africa

The custom of giving jewellery to a woman on her marriage – the largest gift of jewellery she will ever receive on a single occasion – has a long history in the region.

The dowry gift is generally known as mahr, a term that varies in different languages and dialects. In Morocco for example is it known as sadaq, and in Nubia aba, but the Arabic mahr is understood everywhere.

Dowry jewellery in the Middle East: more than just jewels

The jewellery given to the bride carries far more meaning than your average sentimental wedding gift. This is because the dowry represents a woman’s personal assets, which she retains in the event of a divorce.

And that is tied directly to the value of the precious metal in the jewellery: long before the gold standard, banks and credit cards, wealth was derived from the precious metal content in coins and other valuable objects 0 like jewellery.

The particular gift of jewellery that forms part of the entire mahr is known as shabka in Syria, Lebanon, Egypt, the Arab Peninsula and Jordan. Since the word shabka denotes jewellery, it has also become the general name for jewellery items that were traditionally given to a bride: a silver necklace, earrings, head ornaments and bracelets – or as much as the groom’s family could afford.

And that is also where the lines begin to get blurry, because there is no such thing as a ‘standard’ dowry.

What does a dowry jewellery set consist of?

So, what would be considered a decent dowry? The amount and value of the jewellery presented to brides varies from country to country; it even differs between regions and villages within particular countries. But it is equally important to brides throughout the region and is everywhere the subject of thorough negotiations between two families.

It’s easy to see how here, a conflict of interests may arise: the bride’s family desires her to be financially secure, while the groom’s family may have additional sons to marry, resulting in a greater financial obligation.

So, there is no standard or minimum value for a mahr, although sometimes the mahr of Fatima, the daughter of the Prophet, is used as a measure. The amount of silver dirhams her husband Ali gave her upon their wedding is sometimes converted into the value they would have today, and used as an indication for the size of a dowry.

But in general, much depends on the outcome of the negotiations between the two families and the financial means of the groom and his family.

Providing the dowry jewellery

Having agreed upon a dowry is one thing, but actually providing it is another. The promptness of the dowry presentation differed throughout the region. Frequently, the presentation was divided between the engagement and the actual marriage.

This division can be according to local tradition. In some communities the groom is expected to present his bride to be with jewellery on every milestone event towards their wedding.

But providing the dowry in terms instead of all at once could also be for very practical reasons. Often, the amount of jewellery agreed upon could simply not be acquired because the groom and his family lacked the means to purchase it all.

And so, this would result in more of a commitment than in actual jewellery. In fact, in many instances, the mahr was never fully paid.

In such situations, the marriage contract would include a provision stating that the outstanding amount must be paid in the event of a divorce or the husband’s death. Essentially, this meant that the husband and his family would be in debt to his wife: she would always be entitled to her dowry jewellery.

Interestingly, the failure to fulfill the agreed-upon payment had a silver lining, as it served as a deterrent to future attempts by the husband to take on a second wife. If he could not afford the dowry jewellery of his first wife, how would he be able to offer a decent dowry to anyone else?

Showing the dowry jewellery

Although the size of the dowry varied, it was as a rule always shown publicly during the wedding festivities. A bride would be wearing all her new jewellery, which sometimes resulted in her carrying several kilos of silver. An example is the Yemeni bride shown above (click the image to enlarge it) – she is wearing so much jewellery that she can hardly move.

In other cases, the jewellery was displayed on its own, so everyone could inspect the pieces.

This practice of showing the jewellery served multiple purposes. Clearly, showcasing the successful agreement was a major reason. Showing off the jewellery literally communicates how both families has reached a good deal.

But it also served a practical objective. Displaying the jewellery at the wedding ensured that everyone in the community had witnessed the assets involved. This had a strategic aspect: if there was a need to sell some of the jewellery in the future to address household emergencies, the husband would be indebted to his wife for that portion of her personal capital.

And as everyone in the community had seen the jewellery with their own eyes, there would be no mistakes in keeping track of who was indebted to whom!

In some communities, the dowry jewellery would be marked with a red dot: this would not only keep evil away and add to the festivities, but would also clearly mark the jewellery as dowry jewellery: the unalienable assets of the woman.

After her wedding, the bride would continue to wear her wealth visibly. That includes the use of coins and other silver on dress, veils and headdresses, like the two examples in the gallery above.

Wedding jewellery: relatives and guests

In addition to the jewellery given by the groom, relatives and other wedding guests are often expected to present the bride with items of jewellery as well. These are often smaller than the groom’s gift, but contribute to the bride’s financial independence nonetheless. In the region around Hebron, the bride traditionally wore a miqlab, a piece of cloth that was decorated on the eve of her wedding by her aunts. On it, various silver pendants, amulets, coins and beads were sewn, all of which would later form part of her jewellery. [2]

Middle Eastern dowry jewellery: a complex world

The importance of jewellery as wedding gift is still hard to overestimate. If you have been invited to a wedding, you may have experienced that presenting the bride with jewellery is customary.

There is a world of clever uses of jewellery as a financial asset, inside views on dowry negotiations and its lasting effect in today’s world in the e-course on Dowry & Status: have a look and discover this aspect of Middle Eastern jewellery!

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References

[1] For an overview of the dowry in Palestine during several decennia, see Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 230 – 240.

[2] Shelagh Weir relates that the miqlab was worn on the back of the bride during the first wedding-day procession, and on their chests for the final ‘going out’-procession. See Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 184.

 

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.

Draa Valley necklace

Draa Valley necklace

by | Objects

Amazigh Berber jewellery

Amber and coral necklace from the Draa Valley, Morocco

Published Jan 17, 2024

A coral and amber stunner in the signature arrangement of the Draa Valley, Morocco. In this article, I’m zooming in on its composition, its meaning and its many lives.

A glorious Draa Valley amber and coral necklace with colourful woollen tassels
Close-up of a spectacular Amazigh Berber necklace from the Draa Valley in Morocco, showing its abundance in coral, amber and trade beads

An Amazigh necklace from the Draa Valley

You’ll find this type of necklace presented as Berber or Amazigh necklace: while ‘Berber’ is the word almost everyone knows, ‘Amazigh’ is actually how its people prefer themselves referred to. I’ll go into the reasons behind that in another post: this article analyzes the meaning and history of this beautiful piece of jewellery.

This huge, gorgeous Berber necklace was worn in the Draa Valley, Morocco. As you see in the gallery above (click the image to enlarge it), it’s made of eight strands of large branch coral beads and a central arrangement of chunky amber beads flanked by shells.⁠

This necklace was worn by a married woman. As its individual components, notably the sizeable pieces of branch coral and amber, are quite expensive, the necklace was also a show of wealth. [1]

Draa Valley necklace: amulets and beads

Between the coral abundance is a treasure of other beads. Amazonite, agate, glass, shell and smaller amber beads are strung in with a variety of beads and pendants in low grade silver: there are coins, cones, cornerless cubes, bell-shaped beads and a few amulets.⁠ [2]

The amber holds several meanings: this is where you’ll find specific information about the hidden powers of amber in Berber jewellery. Amazonite beads were believed to be associated with fertility, because of its green colour: an association found with many green stones.

Ancient trade beads are a testimony to the long history of trade and commerce in the region. As are the polished brown and green agate beads, that were imported on a large scale from Idar Oberstein in Germany.

And it holds several low-grade silver beads, amulets and pendants. These are lovely in their variety, and are randomly strung in with the rest: this is where you’ll find the personal preference of the wearer reflected most closely, as these are the items that she would have selected herself.

She may have collected various beads and pendants over time. They may also come from other pieces of jewellery that had fallen apart – and that is another factor to consider when looking at these necklaces: they fell apart at some point during their lives.

Berber jewellery from the Draa Valley: its many lives

This piece is still in its original stringing. But what does that really mean? I think it’s important to consider that this is the last stringing with the purpose of wearing it within the culture itself.

‘Last’, because during its life, it would have been restrung multiple times anyway. Its threads would become worn after years of beads weighing them down. Eventually one of them would break, and then it would be restrung. That was also the perfect occasion to add some more beads and other pendants. So, with several actions of restringing, which ‘incarnation’ is the original one…? That’s why I think looking at its purpose is an important factor in determining whether stringing is ‘original’.

Another indicator of ‘original stringing’ is its closure, so let’s go into that next.
⁠

" Necklaces have several lives: they are restrung multiple times, each time with tiny differences to its arrangement and composition'

Draa Valley necklace details: its closure

What is even more remarkable about this Amazigh necklace is that it still has its original closure: the two large tassels of woolen cords. These are quite heavy themselves, and form a perfect counterweight to the weight of the beads.⁠

They are held together by a woolen band. Like a scrunchy in your hair, that is what keeps the two heavy tassels together. The idea behind the tassels is not to knot them, that would be uncomfortable to wear, but to simply tie them closely together.

There are other cultural reasons to avoid knots in general: you’ll find those here.

You may find similar necklaces outfitted with a simple knot-and-loop closure: that is a later alteration to make these necklaces more suited to the taste of collectors who’d want to wear them. And that brings me to their afterlife.

Draa Valley necklace: its afterlife

Necklaces like these, in their original setup, are becoming increasingly rare. Many of these have been broken up in the past to be sold, as its individual coral, amazonite and amber beads may fetch a handsome price.

You’ll also find modern arrangements reflecting the style of the Draa Valley, sometimes put together with antique elements and sometimes with entirely newly made beads.

Some of these are used in traditional dance performances (you don’t want your antique piece snapping apart on stage, after all) both in Morocco itself and abroad. As such, the design of this necklace is still communicating the cultural identity of its wearers, and I think that is a beautiful thing!

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References

[1] Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014, p. 73.

[2] See the chapter Jewelry Art by Cynthia Becker in Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014.

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.

Perfume jewels: meskia

Perfume jewels: meskia

by | Objects

Ottoman splendour

Perfume jewels: the meskia pendant

Updated Feb 19, 2024

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

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

What is a meskia?

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

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

Meskia: fragrance and faith

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

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

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

Style and execution: Ottoman luxury

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

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

Differences in meskia styles

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

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

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

Meskia: an urban jewel

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

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

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

The meskia today: an important wedding jewel

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

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

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References

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

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

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

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

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

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

Sigrid van Roode

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