Javascript must be enabled to continue!
Pendant of agate
View through Europeana Collections
This ring-shaped pendant of cut agate was used by Tuareg women as a hair ornament and as a pendant for a necklace. Necklaces could have one or more pendants. Jewellery made of agate was a precious possession and passed from mother to daughter as heirlooms. In the early 20th century, Western anthropologists described the pendants as magical objects and fertility symbols, because of their shape and their preference for the colour red (Seligman and Loughran 2006: 257, Spittler 2002: 49). During research in Timia (Niger) in the 1980s and 1990s, Tuareg women rejected such interpretations (Spittler 2002: 51). Married women there said they wore the pendants because of their aesthetics. This pendant was collected in Libya in 1956. According to the collectors, the ornament was braided into the hair by women at the back of the head.Although the pendant is typical of the Tuareg culture, the Tuareg did not make them themselves. Beginning in the mid-19th century, the pendants were made in Idar-Oberstein, Germany, from agate imported from Brazil, through the port of Rotterdam. The German agate industry then discovered a new process for dyeing agate. Iron nitrate was used to obtain a deep red colour. From Germany the pendants were exported to Africa or, in the second half of the 20th century, sold directly in Europe as 'authentic' Tuareg jewellery. In West Africa, too, the pendants became a popular souvenir for tourists and development workers. In the 17th and 18th centuries, and possibly even before, the pendants were manufactured in Cambay, India, and came to the African market via pilgrim caravans from Mecca (Seligman and Loughran 2006: 256, Spittler 2002: 46). After the Second World War Cambay again gained ground on the Germans and in the 1990s agave exports to Africa from Idar-Oberstein largely came to a halt (Spittler 2002: 48).
National Museum of World Cultures Foundation
Title: Pendant of agate
Description:
This ring-shaped pendant of cut agate was used by Tuareg women as a hair ornament and as a pendant for a necklace.
Necklaces could have one or more pendants.
Jewellery made of agate was a precious possession and passed from mother to daughter as heirlooms.
In the early 20th century, Western anthropologists described the pendants as magical objects and fertility symbols, because of their shape and their preference for the colour red (Seligman and Loughran 2006: 257, Spittler 2002: 49).
During research in Timia (Niger) in the 1980s and 1990s, Tuareg women rejected such interpretations (Spittler 2002: 51).
Married women there said they wore the pendants because of their aesthetics.
This pendant was collected in Libya in 1956.
According to the collectors, the ornament was braided into the hair by women at the back of the head.
Although the pendant is typical of the Tuareg culture, the Tuareg did not make them themselves.
Beginning in the mid-19th century, the pendants were made in Idar-Oberstein, Germany, from agate imported from Brazil, through the port of Rotterdam.
The German agate industry then discovered a new process for dyeing agate.
Iron nitrate was used to obtain a deep red colour.
From Germany the pendants were exported to Africa or, in the second half of the 20th century, sold directly in Europe as 'authentic' Tuareg jewellery.
In West Africa, too, the pendants became a popular souvenir for tourists and development workers.
In the 17th and 18th centuries, and possibly even before, the pendants were manufactured in Cambay, India, and came to the African market via pilgrim caravans from Mecca (Seligman and Loughran 2006: 256, Spittler 2002: 46).
After the Second World War Cambay again gained ground on the Germans and in the 1990s agave exports to Africa from Idar-Oberstein largely came to a halt (Spittler 2002: 48).
Related Results
Tiara of gold, banded agate and pearls, made by Carlo Giuliano, London, about 1870. Gold tiara supporting a wreath of banded agate laurel leaves and pearl berries. At the front of the tiara is a flower composed of gold, pearls, and banded agate petals cen
Tiara of gold, banded agate and pearls, made by Carlo Giuliano, London, about 1870. Gold tiara supporting a wreath of banded agate laurel leaves and pearl berries. At the front of the tiara is a flower composed of gold, pearls, and banded agate petals cen
Tiara of gold, banded agate and pearls, made by Carlo Giuliano, London, about 1870. Gold tiara supporting a wreath of banded agate laurel leaves and pearl berries. At the front of ...
Necklace with twelve-pointed pendant for Bektashi Sufis
Necklace with twelve-pointed pendant for Bektashi Sufis
Marble pendant in a twelve-pointed form. The pendant is worn on a cord around the neck by followers of the Sufi order of the Bektashi's. The pendant is part of the costume of the B...
Stone pendant in the form of a twelve-sided star for Bektashi Sufis
Stone pendant in the form of a twelve-sided star for Bektashi Sufis
Jade pendant in a twelve-pointed form. The pendant is worn on a cord around the neck by followers of the Sufi order of the Bektashi's. The pendant is part of the costume of the Bek...
Pair of earrings, enamelled gold with layered agate cameos, England, London, 1867. Made by John Brogden (died 1884). Exhibited and bought at the International Exhibition, Paris, 1867. Pair of earrings, enamelled gold hung with cameos of classical masks in
Pair of earrings, enamelled gold with layered agate cameos, England, London, 1867. Made by John Brogden (died 1884). Exhibited and bought at the International Exhibition, Paris, 1867. Pair of earrings, enamelled gold hung with cameos of classical masks in
Pair of earrings, enamelled gold with layered agate cameos, England, London, 1867. Made by John Brogden (died 1884). Exhibited and bought at the International Exhibition, Paris, 18...
Twelve-pointed pendant for Bektashi Sufis
Twelve-pointed pendant for Bektashi Sufis
Pendant in twelve-pointed form, made of marble (or alabaster?) from the place Haci Bektash. The pendant is worn on a cord around the neck by followers of the Sufi order of the Bekt...
Enamelled pendant in gold and silver-gilt surround with pendant amethysts and an opal, designed and made by Nelson and Edith Dawson, London, 1900. Enamel plaque with a floral motif in a surround of gold with three pendants. Gold and silver-gilt, set with
Enamelled pendant in gold and silver-gilt surround with pendant amethysts and an opal, designed and made by Nelson and Edith Dawson, London, 1900. Enamel plaque with a floral motif in a surround of gold with three pendants. Gold and silver-gilt, set with
Enamelled pendant in gold and silver-gilt surround with pendant amethysts and an opal, designed and made by Nelson and Edith Dawson, London, 1900. Enamel plaque with a floral motif...
Gold necklace with enamelled pendant, pearls and sapphires, probably designed and made by Nelson Ethelred Dawson, with enamel panel by Edith Dawson, London, about 1900. Gold chain necklace with pendant, which is surmounted by a cast cherub and set with a
Gold necklace with enamelled pendant, pearls and sapphires, probably designed and made by Nelson Ethelred Dawson, with enamel panel by Edith Dawson, London, about 1900. Gold chain necklace with pendant, which is surmounted by a cast cherub and set with a
Gold necklace with enamelled pendant, pearls and sapphires, probably designed and made by Nelson Ethelred Dawson, with enamel panel by Edith Dawson, London, about 1900. Gold chain ...
Queen Victoria pendant, gold, enamel, ruby, diamond and pearl, made by Carlo Giuliano (1831-95), London, about 1877. With octagonal purple velvet case. Oval pendant in the neo-Renaissance style composed of a medallion (possibly silver-gilt) of the profile
Queen Victoria pendant, gold, enamel, ruby, diamond and pearl, made by Carlo Giuliano (1831-95), London, about 1877. With octagonal purple velvet case. Oval pendant in the neo-Renaissance style composed of a medallion (possibly silver-gilt) of the profile
Queen Victoria pendant, gold, enamel, ruby, diamond and pearl, made by Carlo Giuliano (1831-95), London, about 1877. With octagonal purple velvet case. Oval pendant in the neo-Rena...


