Kazakh Tradition in Afghanistan

Antique Silver Turkoman Mountain Symbol Hair Ornament as Pendant

The Turkoman people comprise close to ten percent of the population of Afghanistan.  The Uzbeki and the Kazakh have developed their own silver and textile styles of fabricating the ancient symbols into modern fabrics and metals.  The Turkoman tribes such as the Teke, the Yomud and the Ersari who also reside in the Northern reaches of Afghanistan have their own ways of working in silver or fabrics.

The photo shows a piece of silver worked in the usual Turkoman way of having the front reflected on the back.  It is in the form of a tumar or pyramid shape, the symbolism of which is explained below.  The hollow silver pendants that hang from this piece that originally served as a veil or hair ornament also have a back piece that repeats the design on the front.  They form a rhombus, which is essentially the tumar reflected top to bottom instead of back to back.  These shapes have been established for over a thousand years among the people who came down from the Altai mountains onto the plains and steppes of Kazakhstan and Afghanistan.  This piece was created within that long tradition.  It dates from the early 1900s.  

The piece pictured above is one of a pair of Turkoman tenecir, ornaments worn on a head covering or in the hair, attached just above the ear at the temple. When worn as it is displayed on this page, the Turkoman tenecir becomes an elegant, obviously antique, handmade pendant symbolizing the mountain from which the tribe originated. Being beautifully worked in granulation on each side makes this a reversible piece of jewelry. On one side the silver is set with coral beads; on the opposite it is set with two shades of red glass beads or shards. The silver work is all original, but the metal neck chain has been added in recent times. Measurement: Length of chain is 22 inches. Ht, inc. attached symbols is 5 inches; width of pendant is 2.25 inches at base.

To purchase this item, see details HERE.

Chasing Bracelets in Hadhramaut, Yemen

Creating designs in metal by pushing the material into different levels and shapes as a form of decoration has been done since the Bronze Age.  When it is done delicately and the result is aesthetically pleasing, it is known as chasing.  These bracelets show how it is practiced in Hadhramaut:

For more information on these bracelets, click here.

Antique Yemen silver bracelets with rare Hadhramaut pierced and spiked motifs. Probably from the Hadhramaut region since it specialized in this Bedouin style related to the jewelry of Oman in design and techniques. 

Hadhramaut is near Oman, another country on the Arabian Gulf Coast. 

The tools that produced these intricately wrought silver bracelets are very simple, often handmade themselves. The silversmith employs tools for annealing or softening the hard coin silver, a hammer to flatten it and shape it around a dowel. Pliers and cutters are necessary to size and shape the pieces that will fit together. While the pieces are still flat, the piece of silver --still thick enough to be very sturdy for everyday wear in harsh living conditions -- is pierced, chased and embossed (repoussee) into the various patterns before the pieces are soldered together. The spikes, which are not sharp enough to cut, cover the soldered joint of the pieces. On the smooth inside piece of silver, a crease shapes the material to meet the outside where it is joined also by the spiked pattern. 

These were usually made in household shops by a family that handed down the traditional fabrication methods and the old motifs.  Whereas in Sana'a on the Western side of Yemen the silversmiths decorated their metal jewelry with filigree and granulation, on the Eastern side of the nation in Hadhramaut, they decorated their silver jewelry by piercing and chasing it.  

These were bought from a dealer in Yemen for my collection over ten years ago. 

These are in the original condition except for a few very small dimples. 

Measurements: Inside diameter = 7 cm; 2.75 inches

Outside diameter = 11 cm; 4.25 inches

Weight = (1) 100 gm; 3.5 ozs. (2) 93 gm; 3.3 ozs.

I respond promptly to inquiries; I accept lay-away plans for collectors.

Chosen Ethnic Jewelry from Yemen

This pair of bridal dowry bracelets in the Mansouri style of Yemen was chosen from my own group of Yemen ethnic jewelry by a discriminating collector a few weeks ago:

This is a pair of old Yemen Mansouri style bracelets in typical silver alloy with tiny coral beads set in raised bezels.  Silver wire forms rosette petals arranged around a central group of silver granules forming a tiny floral design.  This is appliqued onto the metal background.  Beaded wire borders the top and bottom of the bracelets.  This Mansouri style fits with the rest of Yemeni jewelry by following the tradition of hinging the bracelet at one side of the diameter of the circular form and a hasp fastener on the opposite side.   The so-named Mansouri jewelry is distinct from the other traditional styles of Yemen jewelry such as the Sana’a Bawsani and the Hadhramaut jewelry from eastern Yemen.  Its chief difference is the content of the silver.  But it also lacks the cut-out patterns and spikes on the outside surface of the Hadhramaut bracelets and the delicate wire filigree and granulation that trace intricate motifs in the Bawsani style bracelets.  

These bracelets appear to be of the same kind of silver alloy that was used by Jewish silversmiths before the coin silver of the Maria Theresa thaler  became available, or they were made in a region where the thalers were not used for jewelry.  Some authorities claim that this style precedes the more sophisticated techniques and motifs of the Sana’a and Hadhramaut silversmiths.  Others say that it was made after the Jewish silversmiths left Yemen.  There appears to be very little information available on exactly who, where and when these were made.  We do know that they are old and fit into their own tradition, because enough pieces in this style survive in present collections.  In my own collection I have one other piece that is made from the same quality of silver and with similar motifs.  

These were probably made as bride wealth to be worn on the wedding day, because they were made as a pair, one for each wrist.  

Height: 3.4 cm; Inside diameter: 5.3 cm; weight of each bracelet: 90 grams.

Along with that pair of pieces from the bride wealth of a Yemen woman, this pair of more sophisticated bracelets from a different region of Yemen was also collected:

Antique signed bracelet by the Yemen Jewish silversmith and the signed bracelet's twin. Granulation and beaded wire form geometric motifs round the bracelet. The covering for the hasp is more delicate tracery with filigree wire and tiny granules. The signature is just on the inside of the fastener. If you cannot see it, request an enlargement of that part of the photo if you are considering a purchase. 

Such bracelets were created in the early 1900s by the Jewish silversmiths for the brides of Yemen.  As all the Jews departed for Israel in those early decades, they took the secrets of their fine silver filigree and granulation with them.  The bridal dowry bracelets were usually made in matched pairs one bracelet for each wrist of the bride.  If you could see a bride sitting at her wedding, first you would notice the load of jewelry around her neck and on her head which would have explained why she was sitting.  The next thing you would realize is that the pairs of bracelets on left and right wrist and along her arms, might have been needed for balance when she eventually stood up under the kilos of bride wealth that she was wearing.  

Published in Ornament Magazine Vol. 26, No. 4, 2003, p. 38. 

Inside diameter: 5.4 cm

Click here for information on more antique jewelry from Yemen and Turkmenia 

Choosing Antique Ethnic Jewelry

First of all, when collecting antique ethnic jewelry, it matters whether you are a collector of old tribal or ethnic jewelry or simply a wearer.  If you are simply a wearer, it may mean that you have inherited old jewelry from an immigrant ancestor into the culture that you now inhabit.  Or you may choose to purchase such pieces from a tradition to which no ancestor of yours ever belonged.  By these statements you see that I am using the word ethnic jewelry to mean adornment from a culture distant from its present location in time or space or both.

If you live on a ranch in California and you see a piece such as this, you would recognize that it was probably not designed or put together by the local jeweler in the mall.

Antique Yemen Silver Filigree with Granulation on Cloth Head Band

This particular piece was assembled in the early 1900s by a silversmith probably with a shop in the neighborhood named Beit Baws near Sana'a, the capital of Yemen.

If you decide to buy a piece of antique jewelry as a collector, you probably already know how to build your collection and what to look for in order to authenticate a claim of provenance.  But if you are beginning to collect ethnic jewelry as an admirer of traditional ethnic styles and you wish to wear it, there are some things to consider in making the purchase.  

First, will you be a generalist or a specialist?  For example, my own collection specializes in Middle Eastern and South Asian jewelry and ancient artifacts.  Most of the things you will see at my studio are from the region of the planet that lies between Turkey and India, from Turkmenistan to Yemen.  

Secondly, I would advise against purchasing ethnic silver or gold jewelry for its intrinsic value, for example for the purity of the metal or the value of the gemstones.  Most ethnic jewelry holds its value in the workmanship, the tribal national expression of what they considered important and beautiful.  

Thirdly, there will most often not be a designer's name attached to the piece.  However, in the case of the Yemen silver, you will find that a great number of the pieces are signed by the maker.  They are very popular collectibles.  To illustrate, see these signed earrings: 

Antique Yemen Silver and Coral Earrings Makers Mark Signed

Slightly below center on each earring, you see a cartouche containing the Yemen Jewish silversmith's signature stamped into the molten silver.  

The photo below shows how they appear on the face; the above photo is of the signed back.  

A final consideration -- at least for today's blog -- is the distinct character of the jewelry.  Some people express their appreciation of beauty in bold colors and large expanses of gold or silver.  Others will use intricate wire filigree and subtle colors.  I would say that the pieces posted on this page so far are typical Yemeni pieces and fit into the latter type: intricate and subtle.  

Before we end the discussion for today, we can learn of a contrasting ethnic character in the Turkoman jewelry.    Shall we have a look at this bold statement of the tribe's wealth and the woman wearer's status?  

Antique Turkoman Gilded Silver Headband by Teke Tribe in Merv Oasis

This antique Turkoman gilded silver headband or sinsile was made by a Teke tribal silversmith in the Oasis of Merv in about 1900 or before. This particular design is in its own traditional sub-category of sinsile called manlajlyk. In certain regions, it is the style worn by married women, the Teke in the Merv Oasis being one of the regions. 

Each of the seven linked plaques is decorated with repetitions of the ram's horn, the primal ancestor symbol among all Turkoman tribes. Along the top edge of each plaque are ten more ancestor symbols, including the ancient dogdan tree symbol. Those are the five intersected triangles between the row of stylized ram's horns at the very top and the beaded wire border around the edge of the plaque. They resemble abstractions of trees, which is what they are. The dogdan was the original talisman worn by the Turkoman. It was made from the wood of the honored tree that grew in the mountains from which the people originated. It is a mythic symbol for the people who came out of the Altaic mountains in ancient times. Once the people began making silver jewelry, the incorporated the ancient talismanic symbols as protection for the wearer, just as the old wood ones had been. 

In the center of each plaque the silversmith set a table cut carnelian in the classic transparent ruddy hue. 

Five pendants are attached to each of the plaques. These are traditional embossed pendants with a backing delicately soldered to the embossed face. An extra pendant hangs from the ring hinge between each plaque. Each third pendant is decorated with an oval carnelian cabochon, the Turkoman's choice of gemstone. This piece glows with the classic carnelian's translucence. 

For the dating and symbol interpretation, I relied on Schlechter, Old Silver Jewellery of the Turkoman. 

Length: 49.5 cm (19.3 inches) x 12 cm (4.7 inches) high including pendants. 

The belief system of the Turkoman people is set forth in this piece.  It proclaims to those who see the owner wearing this head dressing that she is part of the long tradition behind the Turkoman people, no matter how recently they had come from the Altai mountains onto the Kara Kum Desert or the Valleys of the Hindu Kush mountains of Afghanistan.

Another substantial piece of Turkoman jewelry that makes a statement that the man wearing this ring has status in his community and is also tied to his ethnic tradition is this signet (signature seal) ring.  

Antique Silver Turkoman Signet Ring for Abdu Allam

 We know his name was Abdu Allam, written in beautiful Persian style in Arabic letters, decorated with floral designs.  The calligraphy and floral designs are on every part of the ring except the band itself.  It is a very heavy good quality silver piece.  It is constructed in layers with the tablet with the signature on it standing over 1 centimeter above the basis of the ring face.  A man wearing such a ring would definitely be noticed.  

There are other matters to consider when collecting jewelry that makes important cultural statements.  There is the consideration of the authenticity and the present condition of the old piece of jewelry.  For today's blog, we will only discuss the question of specializing in making your collection.  In future blogs, we will point out how to decide such things a provenance, authenticity and integrity of the piece.  This is to say, is the piece true to the ethnic tradition, was it made by the people who produce and wear that type of jewelry, and finally, has it been repaired, restored or reclaimed.  

We will continue the discussion in future blogs.  

Fertility Symbols on Middle Eastern, South Asian Jewelry

Throughout the Middle East and South Asia the symbols of ancestors, living family members and hoped-for descendants influence the jewelry artisan's work.  For example, this very simple piece from that region has components that we could find almost anywhere in that enormous space on the planet.

Ethiopian Silver Pendant with Fertility Symbols of Male and Female Anatomy

This old Ethiopian silver metal plaque is fabricated in one of the traditional hand crafted methods. It is called in the West *repousse.* Working in this technique, the silversmith uses a mallet or pounce and pounds or pushes the metal sheet into the indented figures on a wood board or hard thick metal plate. Usually the designs carved into the wood or metal template are fairly simple such as circles, thick lines, stars or flowers. This particular piece shows the softer edges on the florets, lines and circles that are more common on plaques that have been pounced on a wood board. In fact, this plaque very likely was held tightly across a carved piece of wood that had raised designs and this silver or silver alloy sheet was pounced until the raised designs on the wood template shaped their metal twins on this piece of silver. Then the sides and backing were soldered to this repousse face and the bails attached in the same way.

The naturalistic male and female fertility symbols were made separately. No piece of the jewelry item is without a backing of the same material. The spherical male symbols and the hemispherical female symbols are hollow. The connecting rings do not appear to be made of the same grade of silver as the rest of the piece. I suspect that none of the silver is more than 60 percent silver. Nevertheless, the patina enhances the appearance of this old piece. It gives the impression of having once had enameling applied to the spaces between the designs on the plaque. Within the culture in which it was created, it was no doubt worn by a female, married or approaching marriage. It more than likely served as a temple ornament worn attached by a cord to the veil or braids of hair just above the top of the ear.

This piece was included in a purchase of Yemeni collectible jewelry. Many Ethiopian and Yemeni jewelry styles are cross-cultural.

The chain is a modern antiqued silver plated chain and clasp.

Measurements:
Chain: 21.5 inches (54 cm) long. Plaque and symbolic pendants: 3.5 inches (8.9 cm) long. 1.25 inches (3.2 cm) wide at widest point.

This piece is available at: http://www.artfire.com/ext/shop/product_view/craftsofthepast/4363736/

Expansion of Turkoman Khanates in Medieval Times

During the late Middle Ages, just about the same time that the Renaissance had begun in Europe, the Khans began to extend their power into Russia, Persia and India.  They ruled areas within the borders of those countries as we see the named countries on the map today.  The borders were not the same in that era, of course.

The point of this blog is not about power but about cultural influence.  We have written recently about the major sport of the Mongol people which naturally takes place on horseback. We know it in the West as polo.  Among the Turkmen in Afghanistan it is called buz kashi.

As the khanates expanded the sport went with them.  The Mongols who settled in Persia influenced the people they found there.  I will point to just one great example of that in this blog.

Antique Persian Miniature Handpainted on Mother of Pearl from Iran

This antique fine art is painted with a very fine brush on mother of pearl. The scene is a classic scene showing the Mongol Persian invention of the game of polo. Men on horseback engage in a mock combat to make goals with an object that they bat around with sticks while remaining on horseback. 

The horses must be swift and agile. The artists varied in their ability to paint the horses as they really were. After all, the artist is not usually the athlete who engages in contact sport. 

This piece of art is not only traditional in its content, but also in the technique of creating the Isfahan school of miniatures in the 1800s. 

The artist used the traditional technique of building up layers of lacquered pigment. The underlay is of thinly applied gold. Then the artist goes to work with a brush made of a single hair for much of the scene, especially the plants and outlines of the figures. 

The under layer of gold pigment gives the art a special glow that adds to the luminescence of the pearl base. 

The Isfahan school of Persian miniature art flourished from the 1400s to the 1700s when it was at its height. After that time, the masters began to explore more naturalistic themes and departed from the action narratives as their subject, usually a scene based on one of the cultural mythic subjects such as warfare, hunting, or court scenes. 

The mother of pearl became a desirable base for the masters of the 1800s; this piece fits into that later period of the Isfahan school of Persian miniatures. I collected it in Teheran, Iran in 1971. This particular piece was evidently chipped at the time of the painting or in the shaping of the original piece of shell. The chip is old and shares the same patina of the overall piece. The bottom outline of the painting ends above the tiny chip. 

Measurements: 4.4 cm (1.75 inches) x 6.6 cm (2.6 inches)   More information at this link: http://www.artfire.com/ext/shop/product_view/craftsofthepast/4353627

Upcycling, Re-ordering and Downsizing Older Turkoman Jewelry

Upcycling, Re-ordering and Downsizing Older Turkoman Jewelry

The old traditional jewelry has often been re-purposed or has had parts removed from it, or in other cases, the original order of the beads or pendants has been changed.  This piece was originally a belt buckle.

Read the account of how it has been changed:
This Turkoman silver brooch was originally a belt buckle. It is made of a thick silver plaque with overall floral patterns. The raised center is inscribed with Arabic calligraphy. The inset jewels are red glass, highly prized in Turkoman jewelry. The crafter of this piece was inventive in that when this piece was no longer being used by a male to fasten his belt, the maker cut the silver belt loops from the back of the piece, filed and sanded the stumps smooth and attached a clasp to the back top of the piece. It makes a rustic but very charming and novel brooch for a casual jacket. 

My husband picked up this piece on a trip to Moscow in 1999. The bazaars in Moscow have a lot of Turkoman pieces that come in from the tribes in the various countries around Russia that were once satellites of Soviet Russia. There are many: Kazakhstan, Turkmenistan, Uzbekistan, Kyrghizstan and Dagestan. Then there are the countries that were not part of USSR: Turkey, Afghanistan and Pakistan. The traditional cultures of these countries are influenced greatly by the Turkoman peoples who make up part of the population. Ethnic jewelry and textiles are derived from the traditional adornment of person and home by the Turkoman tribes. 

Like all other pieces on this web site, this piece is returnable with full refund if not satisfied with your purchase. 

Measurements: 3 inches (7.5 cm) x 2.4 inches (6.2 cm) 62 gm (2.2 ozs.)