Tag: ancient mesopotamia

TURKISH JEWELRY DESIGN: THEN AND NOW

Consider a region that encompasses Mesopotamia, rich with the heritage, the DNA of countless historic civilizations, each making significant contributions to the art and craft of jewelry-making, shaping the unique styles and techniques that define this area… This is the essence of Turkish jewelry design!

Once Upon a Time

Some of the earliest jewels made of gold, silver, and semi-precious stones were discovered in Mesopotamia, specifically in the royal tombs of the ancient city of Ur. Dating back to around 2500 BCE, these artifacts highlight the advanced craftsmanship of that era.

Some of the most influential civilizations that emerged in this region include Çatalhöyük, dating back the Prehistoric Period around 7500 BCE, is the first known city in the world, the first place where surrounding villages came together forming a central location, where a sort of urban civilization that dominates the modern world began. Çatalhöyük, was inscribed as a UNESCO World Heritage Site in July 2012.

During excavations, ornaments made from animal shells, natural glass, stone, and malachite, as well as mirrors made from obsidian were uncovered. These findings highlight the value placed on decorative items during this period. Other historic civilizations include the Hittites, Phrygians, Urartians.

The Urartians made significant advancements in metal and stone decorative arts. The finest examples of the granulation technique is seen on items found during this period. The Lydians, who created one of the first known coins, significantly impacting trade and economics. This legacy continued with the Ionian Greeks, the Hellenistic civilization, and the Roman Empire, ultimately culminating in the Byzantine Empire, which lasted until the Ottoman conquest in 1453 CE.

All these civilizations contributed significantly to the development of jewelry-making in Turkiye, through their unique styles and materials, employing various techniques and materials that reflected their cultural values and technological advancements.

Empire of Glamour

The Ottomans integrated further, their various cultural influences, merging motifs of the Byzantine and Islamic art, leading to unique designs that often featured floral patterns, calligraphy, and geometric shapes.

The imperial court was renowned for creating exquisite jewelry, including ceremonial pieces for the sultans and their families. These elaborate adornments, which included crowns, necklaces, and rings, showcased not only the grandeur and wealth of the sultans but also, the artistry of the imperial court. Some of the Sultans mastered in jewelry design taking part in the history of the glamour.

During the Ottoman period, jewelry became a significant status symbol, often reflecting the wealth and power of the wearer. It was common for pieces to be adorned with gemstones like emeralds, rubies, and pearls, signifying luxury and sophistication. Each region of Turkiye developed its respective unique style, with artisans employing local materials and techniques. Among the treasures housed in the famous Topkapi Palace was the renowned Topkapi Diamond.

Mystic Encounters

Istanbul’s workshops emerged as centers of excellence, producing ornate pieces characterized by intricate designs and exceptional craftsmanship. The focal point of the city’s craft industry, the Grand Bazaar in Istanbul has been instrumental in shaping the history of Turkish jewelry design. As one of the largest and oldest covered markets in the world, it has served as a vibrant hub for trade and cultural exchange since the 15th century.

The Bazaar fostered interactions among diverse cultures, enabling artisans to blend various styles and techniques into their jewelry creations. This fusion enriched Turkish jewelry, setting it apart with a unique identity.

Skilled artisans in the Grand Bazaar not only preserved traditional techniques but also fostered innovation. Many jewelers gained recognition for their exceptional craftsmanship, passing their expertise down through generations. The Bazaar has functioned as an informal school, shaping many of today’s leading Turkish designers. As a bustling marketplace, the Bazaar attracted both local and international buyers seeking luxury items. The demand for intricate and distinctive pieces inspired artisans to continually push the boundaries of design and quality.

Jewelry in Turkish culture often carries deep symbolism, closely tied to regional traditions and personal milestones. The Grand Bazaar has been a focal point for these culturally significant pieces, helping to sustain and evolve these traditions over time. Ultimately, the Grand Bazaar has functioned not just as a marketplace but as a cultural crossroads, profoundly influencing the evolution of Turkish jewelry design and reflecting the region’s rich artistic heritage.

Harmony of Cultures

Turkish jewelry is renowned for its craftsmanship and intricate designs and the use of high-quality materials such as gold, silver, and gemstones.

The craftsmanship often involves techniques like filigree, where fine threads of metal are twisted and soldered to create delicate patterns. This technique exemplifies the intricate artistry of Turkish jewelers, highlighting their skills and attention to detail.

The use of symbolic motifs plays a significant role in Turkish jewelry design. Many pieces incorporate traditional symbols, such as the “evil eye”(Nazar), which is believed to offer protection against negative energy, or motifs drawn from nature, such as flowers and leaves. These designs are not only aesthetically pleasing but also imbued with cultural significance, often carrying deep meanings and are intended to convey blessings, protection, and cultural identity.

While traditional methods and motifs remain prevalent, contemporary Turkish jewelry design has seen a shift towards modernization. Designers are increasingly incorporating modern aesthetics and innovative materials, catering to a global audience. This fusion of traditional and contemporary styles allows for a diverse range of jewelry that appeals to both local and international markets.

Some Turkish brands are known for their unique approach to jewelry design, merging elements from Turkiye’s rich historical civilizations with contemporary aesthetics.

Bicakci working on his self-portrait, carved in the reverse of this 650 carat rock crystal set with diamonds.

Sevan Bicakci

Renowned Turkish jeweler and designer Sevan Bicakci is known for his unique blend of traditional craftsmanship and contemporary design.

He creates intricate, handcrafted jewelry that often features storytelling elements, detailed engravings, and a deep appreciation for cultural heritage. Bicakci’s work has gained international acclaim, establishing him as a significant figure in the luxury jewelry sector and a key proponent of Turkish design.

His pieces often reflect themes from nature, history, and mythology, showcasing his artistry and innovative approach.

Urart

One of the most important Turkish Jewelry house is Urart. Founded in 1972, Urart draws inspiration from the rich cultural heritage of the Urartian civilization and other ancient Anatolian cultures, studying artifacts and motifs from archaeological sites.

Urart: Novus rings and Instanbul Necklace, 18K gold with diamonds.

Each design often tells a story or symbolizes a concept from Urartian history, creating a narrative that connects wearers to the past. This combination of research, craftsmanship, and modern design allows Urart to create unique pieces that celebrate Turkiye’s rich heritage.

The brand employs traditional jewelry-making techniques, including handcrafting and meticulous detailing, to ensure each piece reflects a high level of craftsmanship. While honoring historical influences, Urart integrates modern design elements to appeal to contemporary tastes, resulting in pieces that are both timeless and fashionable. They often use high-quality materials, such as gold, silver, and precious stones, to enhance the durability and luxury of their creations.

Contemporary designers are also experimenting with sustainable practices, using ethically sourced materials and environment friendly production methods. This shift reflects a growing awareness of global issues and aligns with the preferences of modern consumers who value sustainability.

Suciyan Jewels by Arman Suciyan: Earth Burst ring in 18K rose gold with peridot and pink sapphires.

Suciyan Jewels

Known for its luxury and contemporary designs, Suciyan Jewels by Arman Suciyan is a distinctive jewelry brand. The brand often emphasizes high-quality materials, intricate craftsmanship, and unique, artistic elements that blend modern aesthetics with meticulous attention to detail. Their pieces cater to those seeking distinctive, statement jewelry for special occasions or everyday wear. The brand prioritizes responsible sourcing, making it a thoughtful choice for conscious consumers seeking both beauty and sustainability in their jewelry.

Ela Cindoruk and Nazan Pak: Dot neckpiece, silver and cold enamel. From the Private Collection of Bryna Pomp.

Ela Cindoruk and Nazan Pak

Pivotal figures in modern Turkish design, Ela Cindoruk and Nazan Pak are known for their minimalist approach and innovative craftsmanship. Their philosophy of “less is more” has influenced contemporary aesthetics, emphasizing simplicity and elegance. By participating in international design fairs and receiving prestigious awards, they have brought global attention to Turkish design. Their contributions have helped elevate Turkish design on the world stage, blending traditional techniques with modern sensibilities.

Turkish jewelry design is a captivating blend of history, culture, and artistry, reflecting a vibrant journey through time. It showcases the evolution of styles while preserving traditional techniques and meanings rooted in the country’s rich cultural heritage. As artisans embrace modern techniques alongside these traditions, Turkish jewelry continues to captivate and inspire, adapting to contemporary trends while remaining a vital expression of identity and creativity. This ongoing dialogue between tradition and innovation ensures that Turkish jewelry will enchant and inspire for generations to come, promising a future as dynamic and diverse as its past.

Written by Ece Ermec Uster. Ece is based in Istanbul, Turkey. She is an independent jewelry curator, consultant and writer.

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Ishtar Adorned: Embedded Power in Ancient Mesopotamian Jewelry

Laleh Javaheri-Saatchi in Conversation with Dr. Kim Benzel, Curator in Charge of the Ancient Near Eastern Art Department at the Metropolitan Museum of Art

Today, we’re taking a deep dive into the Power of Jewelry from an ancient perspective, with guest contributor Laleh Javaheri-Saatchi. In a conversation for the podcast Ishtar Diaries (© The Trustees of Columbia University), Laleh discusses the beauty and multi-dimensional meaning of ancient Mesopotamian jewelry customs with Dr. Kim Benzel, Curator in Charge of the Ancient Near Eastern Art Department at the Metropolitan Museum of Art.
Before we get into their conversation, let’s learn more about Laleh & Dr. Benzel:

Laleh Javaheri-Saatchi is a graduate student in Art History and Archaeology at Columbia University studying the arts of ancient West Asia and currently completing a Masters thesis. Her area of interest and research is in ancient forms of bodily ornamentation. Her passion for jewelry is rooted in her family history, Laleh comes from a multi-generational family of jewelers and watch dealers.

In her studies, she repeatedly encounters the theme of layered meanings embedded in ancient jewelry. Ancient jewelry pieces, beyond objects of mere external beauty, carry a multitude of enmeshed meanings: in the materials chosen, the colors, shapes and forms, the iconography displayed, as well as in the techniques of making. In this sense the study of ancient jewelry is akin to an investigation into embedded messages hidden beneath the superficial layers. This is a topic that Dr. Kim Benzel, Curator in Charge of the Ancient Near Eastern Art department at the Metropolitan Museum of Art knows very well. A scholar of ancient West Asia, an expert on ancient jewelry and a goldsmith herself, Dr. Benzel has written extensively on the inherent power and meanings embedded in the materials that make the exceptional jewelry pieces of the ancient world.

Image Above: Dr. Kim Benzel (Left) and Laleh Javaheri-Saatchi (Right)

For a podcast episode produced by Columbia University, Laleh had the opportunity to explore this subject further in conversation with Dr. Benzel. Through an intimate knowledge of materials and techniques, Dr. Benzel shares invaluable information about what it is that made jewelry so meaningful in ancient West Asia.
The following are transcribed excerpts from the interview, which is available to listen in its entirety as a podcast
episode entitled Ishtar Adorned. 

Image Above: This exquisite assemblage of dangling gold leaves with carnelian and lapis lazuli beads made in the 3rd millennium BCE was found at one of the tombs of the Royal Cemetery of Ur and would have been meant to be worn as a headdress. An identical headdress adorned the forehead of Puabi. (Collection of the Metropolitan Museum of Art, image credit www.metmuseum.org)

LALEH JAVAHERI-SAATCHI: Jewelry in ancient Mesopotamia was so much more than mere bodily decoration. We know from textual sources that materials, namely stones and metals such as lapis lazuli, carnelian, gold, or silver, were valued for their special inherent attributes, providing the wearer with protective and healing qualities. In addition, the manipulation of materials allows for yet another level of meaning. Can you speak to us a bit about the importance of the process of making and of meanings in materials?

DR. KIM BENZEL: In my writings what I focus on is not the making in isolation, it is really the chain of activation that starts with the materials. We know from textual sources that all the materials were very important, not only for outward qualities but for inner properties. 

Gold for example is charged, not just because it is beautiful, but it is still listed today as among the noble metals because it is so pure and does not tarnish. In the ancient world gold was also given a special status, it was conceived as related to the divine from the very beginning. Its properties of not tarnishing, immutability, purity and shine were all aspects of Mesopotamian aesthetics that were highly valued and that were also equated with the divine. With gold, you have this material that we as humans from antiquity on have perceived as a pure material. There are all these rituals in ancient Mesopotamia that require human manipulation and intervention, gold does not need that. The material is already charged, and only then you add the craftsman or the jeweler. I would argue that in some of the jewelry that was made, especially the jewelry that is made for cult statues and is intimately associated with the divine, the making or manufacturing aspect is in many cases meant to erase the hand of the maker. It goes to this biblical tradition, and this is where it comes from, of a mortal cannot make things that are associated with the divine. There is anecdotal textual evidence that illustrates aspects of that. With the jewelry of Puabi, from The Royal Cemetery at Ur, which I was able to study up-close, what was really evident there was the process of not using solder, which they did have, but using pieces of gold and repeating a very labor-intensive process of heating and hammering, so as not to cut or solder and keep the gold pieces intact and seamless making it hard to perceive that there was a hand behind it. This exceedingly labor-intensive method was another way of activating the divine. It is this ritualized chain of activation from materials to making that in some way removes the hand of the maker. It is very prescribed and rarely does it vary. It just seems to me that the ritual prescription of how to make something was not only to create beauty, but for the expressed purpose of activating the next step, and in my opinion in Ur to activate those dead bodies to become perhaps divine in death or appear divine in death. 

Ancient Mesopotamia refers to a region in West Asia that would have occupied modern day Iraq and parts of Iran, Turkey and Syria. The term refers to the land between the Tigris and Euphrates rivers.
Puabi is the name of a Mesopotamian woman of high status from the 3rd millennium BCE whose rich burial was uncovered at the Royal Cemetery of Ur.
The Royal Cemetery at Ur refers to a group of burials excavated at the site of the ancient Mesopotamian city of Ur (modern day Tell al-Muqayyar in Iraq), these burials were particularly rich in their contents thus believed to have belonged to the highest echelon of the elite of the time.

“It is that chain of activation that makes the jewelry particularly agentive; it has agency to do something to its wearer. In its totality once it is on the body, it does something to the body and my argument would be that it creates the semblance of the divine.”

Dr. Kim Benzel, from “Ishtar Adorned”, Ishtar Diaries podcast series.*
Image Above: This set of gold amulets from the early 2nd millennium BCE Mesopotamia was found as part of a hoard of precious objects. The amulets are meant to represent different gods and goddesses and the techniques of making, such as very fine granulation work, attest to the skill of the ancient goldsmiths. Such amulets would have adorned the bodies of those seeking supernatural protection. Refined ornaments would have been made to bedeck not only human bodies but also the bodies of cult statues of gods and goddesses.
(Collection of the Metropolitan Museum of Art, image credit www.metmuseum.org) 

LALEH JAVAHERI-SAATCHI: On representations on Mesopotamian cylinder seals of the goddess Ishtar, we see the goddess wearing bracelets, necklaces, or the cross halter she is often seen adorned with. And in the textual sources we see her adorning herself with special stones such as lapis lazuli and carnelian before going into battle or before any great transformative event. Dr. Benzel, we understand why humans need this extra layer of protection, but why do gods?

Ishtar is the great Mesopotamian goddess of love and war.

DR. KIM BENZEL: [As mentioned before], the ultimate purpose of this chain of activation from materials to making and then adorning was to do something to the body. In the case of some jewelry produced in ancient Mesopotamia, it was intimately and directly involved with the divine. Much of the jewelry we know from ancient texts was made specifically to adorn cult statues of gods and goddesses, and as such they were the belongings of those gods and goddesses. We do not have many of these cult statues that have survived, presumably because the bodies of the statues were generally made of wood, they were then literally dressed in fine linen and jewelry and cared for like a biological deity. But on that assumption, that jewelry was not just only adorning the divine, it was an essential part of creating that divine image. 

“That divine image was likely not divine until it had all its other dressings and adornments.”

Dr. Kim Benzel, from “Ishtar Adorned”, Ishtar Diaries podcast series.*

DR. KIM BENZEL: In terms of Ishtar, I would say that it is not so much why the gods needed the protection, but it is actually an essential part of being divine for Ishtar. There is no more persuasive argument for that than the very famous text that is titled The Descent of Ishtar. In short, Ishtar is going down to retrieve her lover from the underworld where her sister rules, and on her way down in order to enter the underworld she is required to take off one of her pieces of jewelry at each level as she descends. And when she gets to the bottom all her jewelry is off and it is at this point that we presume she is deactivated, she is no longer in possession of her power and no longer a threat to her sister, the queen of the underworld; and when she returns back up, she gets her jewelry back. And it is all those same pieces of jewelry, the bracelets and the anklets, the head jewelry, and the cross halter. 

Image Above: A pair of gold earrings from the Royal Cemetery of the Mesopotamian city of Ur (modern day Tell al-Muqayyar in Iraq). These ornaments made in the 3rd millennium BCE were made from two pieces of thinly worked gold sheet shaped by the goldsmith into hallowed crescents. Other examples of these lunate style earrings were found in the Royal Cemetery of Ur and Puabi was found adorned with a similar oversized pair. (Collection of the Metropolitan Museum of Art, image credit www.metmuseum.org)

“What is very clear is that the jewelry is her power in this text. And so why do gods need it because it is part of their power where we humans need it as a layer of protection.“

Dr. Kim Benzel, from “Ishtar Adorned”, Ishtar Diaries podcast series.*

DR. KIM BENZEL: There are also many other examples from Mesopotamia of rituals [involving jewelry]. There is a text from the site of Mari where it is the jewelry of Ishtar that is displayed and worshipped in its own right. If something has been on a body and has been in contact, sort of this idea of contagion, is it imbued with the same power as the biological deity itself? 

Mari is an important ancient Mesopotamian city which would have been located in present day Syria.

There are so many ways of manifesting and representing the divine in ancient Mesopotamia. The fact that this jewelry presumably had touched Ishtar, made it a substitute or a surrogate for Ishtar, as powerful and as imbued with this much agency as the goddess herself. There are also from the 3rd millennium BCE to the 1st millennium BCE many curses in burials warning about jewelry being taken off the body. The jewelry is specifically called out. So it is a very charged category of object in the ancient world, much more so than the agency that we assign today to stones or particular metals with healing or protective properties or particular jewelry pieces we are attached to. It’s on a whole other level in the ancient world.

*Copyright: Dr. Kim Benzel, from “Ishtar Adorned”, Ishtar Diaries podcast series. Podcast produced by graduate students at the Department of Art History and Archaeology at Columbia University and Columbia Global Centers  | Istanbul, and led by Zainab Bahrani, Edith Porada Professor of Ancient Near Eastern Art & Archaeology. © The Trustees of Columbia University

For more on this topic, you can listen to the full conversation from Ishtar Adorned episode of the Ishtar Diaries podcast series here. 
You can follow Laleh Javaheri-Saatchi on Instagram @the_body_ornamented, and learn more about Dr. Kim Benzel here.

Thanks to Laleh Javaheri-Saatchi for sharing excerpts of her conversation with Dr. Kim Benzel with us. Interview transcript adapted for print by Laleh Javaheri-Saatchi; adapted from “Ishtar Adorned”, Ishtar Diaries podcast series, produced by graduate students at the Department of Art History and Archaeology at Columbia University and Columbia Global Centers
(© The Trustees of Columbia University).

Images provided by Laleh Javaheri-Saatchi, via the Collection of the Metropolitan Museum of Art: www.metmuseum.org.

Feature edited and compiled by Future Heirloom Editor Jackie Andrews.