The Allure of Coral

Coral was traded as a valuable item for two or three thousand years before it became a gem that was bought with money.  The trade routes that became known as the Incense Road and the Silk Road were were well established migrant tracks across great lengths of many present-day nations by the third millennium B.C.  Trading was a natural outgrowth of the movement of peoples.  As they uprooted from one place, they took with them the possessions that they had accumulated, whether animals, beads, pots, skins, plant seeds, or chunks of minerals from the earth, such as pigments.  As they moved they no doubt often exchanged some of their valuables for other valuable items along the way.

This is how coral from the Mediterranean, the richest source of that organic bead material, came along the trade route that ended in what we now know as China.  As the owners of the coral passed from Italy to China through Greece, Persia, and the through the steppes of Central Asia or through India into what is now northwestern China, they could use their alluring gems of coral as items of trade.  As a result, as Christina del Mare writes

*The peoples of Arabia, Turkey, Turkmenistan, Uzbekistan, Tibet, Mongolia and India were all captivated by its allure: its blood-red colour, enigmatic essence, indecipherable origin and durability. *

I would add that coral was probably just as valuable in Iran (ancient Persia) as it was in India and among the various Arabic and Turkic peoples.  

In particular, the people of Yemen used it in designing the labbeh, the bride wealth that each woman wore on her wedding day.  

You can see such a piece from the early 1900s here: 

Antique Yemen Silver and Coral Beads with Mini Amulets

A yet more elaborate labbeh with more and varied sizes and shades of natural coral gemstones is shown below.  The five stranded coral bridal necklace has the added value of Bawsani work, the products of Beit Baws, the community of silversmiths that created the most desired beads and amulets in Southern Arabia. The very fine filigree and granulation on these pieces is no longer being duplicated in the quality and quantity with which the Beit Baws produced them.  

Old Yemen Silver Filigree Granulation Plaques Amulets Bawsani Beads

When we first started our collection of Middle Eastern jewelry, we included many ounces of loose coral, because of its alluring qualities.  As del Mare states in the same essay,  

*...it has always combined myth and magic, for its bright red colour has fascinated people in the East and West alike. Its mysterious origins and its ambiguous nature, combining the mineral, vegetable and animal kingdoms, have given rise to conjecture and myths, reinforcing its mythical potency....*

As part of our effort to lay in store some extra coral, we collected these three strings of coral displayed as a necklace but in fact is not securely or neatly strung together.  It is offered at my sales point at the price of 3 strings of coral, not as a necklace and therefore, you can have an idea of the current value of coral:

Old Rose Mediterranean Coral Beads Three Strands

The Merchant's Sizzle Words: Kazakh and Bokhara

When I went shopping during the two years I lived in Kabul, Afghanistan, I always heard two words spoken by the merchants in a tone of awe: Kazakh and Bokhara.  The Kazakh style silver jewelry was greatly admired, and the Bokhara carpets and tapestries were prized.  The Teke tribe's gilded jewelry was in a different category and was not such a commonly displayed item while I was in Afghanistan.

The Kazakh design is usually a repetition of pyramidal shapes built up by tiny dots of silver applied to an otherwise smooth surface, most often forming a circular or oval frame around a central gemstone setting.  The technique of forming patterns with tiny dots of silver is called granulation (making grains).  Occasionally the piece would be lightly gold-washed, but not gilded in the same manner that the Teke tribe gilded their silver jewelry.

A simple pendant that I purchased in Afghanistan illustrates the design.

Afghan Antique Silver Filigree Granulation Pendant Coral Carnelian

The Bokhara jewelry is very different from the Kazakh.  Uzbekistan jewelry makers do not follow rigid patterns as their rug makers usually do, nor do they always design the same motifs and gemstones for their more gaudy ornaments.  Here is an example from my own collection:

Bokhara Uzbekistan Pendant Traditional Turkmen Art of Central Asia

The Uzbek Turkoman artisan did, however, produce more subtly decorated pieces of jewelry.  I have another piece from Uzbekistan in my collection that is a delicate enameled floral design on the hollow half-globe of silver.  

I have to admit that some of the subtlety of the piece is removed by the tinkling bells added to the pendant.  They do announce the wearer's approach.  

Bukhara silver enamel cloisonne pendant with dangling bells

International visitors are welcome at my web site to browse, to gather information or to purchase items.  The higher value items are offered on a lay-away (a reserved item paid for in installments) plan.  Come for a visit!

A Yemen Dowry Necklace Restored

Restored to Beauty and Strength for Service to Another Bride

From the Past: Yemen Silver Filigree and Granulation Plaques with Amulets and Bawsani Filigree Drop Beads

Restoring an antique piece differs from merely restringing and certainly is very different from re-designing an old piece in a contemporary fashion.  In this piece I found that the three amulets and the large central plaque were still intact and together.  The end pieces matched, but I do not recall whether they were with the plaque and amulets.  The filigree drop beads and the silver metal spacer beads were collected from the same time and place.  They were all made in Yemen some time before the 1940s.  

Some of the coral was missing.  Enough was replaced to make this piece as much like the original as possible.  

This is a restored antique kirdan necklace commonly known as bridal dowry jewelry. The workmanship of the Jewish silversmith who created these pieces around 75 years ago is astounding. His tools were simple but the purpose was so high: the blessing of a marriage. He was inspired to create these matching pieces which held 5 strings of silver and coral beads. 

The small beads did not have to be so fine, as the original ones were probably not. But the first restorer of this piece some decades ago hung tiny dainty Bawsani type filigree drop beads, one on each of the middle strands, just to show the value of the necklace. 

Over the years the strings wore through, the piece fell apart again. Most of the coral was still with the silver pieces, so it was possible to restore the lazem/kirdan necklace after rummaging through my stray bead trays for my old Mediterranean coral pieces that we had collected over the years. 

You will note that the central plaque had six holes to divide the strands, but the end plaques had only five, though they are perfectly matched in design to the central plaque. Note also that the three amulets also match closely in design. At some point in the long past, some of the attachments on the amulets may have been replaced with a different shape than the original. All the metal pieces are old Yemeni pieces. The coral comes from the same source as the Yemen coral came from: the Mediterranean, possibly off the North African coast. 

In restoring the piece, I wanted to make it as secure as possible on the string I used, so it now hangs on nylon coated steel and should not fall apart for another hundred years at least. I randomly tested the coral I replaced by checking to see if it effervesced in vinegar or lemon juice. It reacted as coral is supposed to react by blowing tiny bubbles in the acidic juice. 

Coral is about 75 grams. 
Length of necklace = 24.5 in (62 cm)
Central Plaque = 1.25 in (3 cm) x 3 in (7.5 cm) including pendants

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.