Edward C. Moore Collection, Bequest of Edward C. Moore, 1891
Not on view
In jewelry, the Arabian Peninsula retained very old traditions with remarkable fidelity. In Yemen, in particular, this can be explained by the fact that the practice was solely the preserve of the Jewish population, among whom the art was passed from father to son. This necklace is of a well-known type that was presented to a girl once she reached the marriage age. These necklaces always have parallel rows of small beads joined by rectangular plaques (here, there is one central plaque set with green glass) and with triangular endpieces decorated in filigree. Amulet cases are suspended from the lowest strand of beads; on this example, there are three amulet cases, and a star-shaped pendant hangs from the central one. Techniques remained traditional too. The shot-constructed beads in this example are most directly a survival from medieval Islamic times, but can be traced even farther back.
Edward C. Moore, New York (until d. 1891; bequeathed to MMA)
Jenkins-Madina, Marilyn, and Manuel Keene. Islamic Jewelry in the Metropolitan Museum of Art. New York, 1983. no. 71, p. 128, ill. (b/w).
Artist: ‘Umar ibn Yusuf ibn ‘Umar ibn ‘Ali ibn Rasul al-Muzaffari Date: dated A.H. 690/ A.D. 1291Medium: Brass; cast and hammered, pierced, chased, inlaid with silverAccession: 91.1.535a–hOn view in:Gallery 454
Artist: Date: late 9th–early 10th century Accession Number: 29.179.9 Date: late 9th–early 10th centuryMedium: Cotton, ink, and gold; plain weave, resist-dyed (ikat), painted
Inscription: black ink and gold leaf; paintedAccession: 29.179.9On view in:Not on view