H x W x D: 55.9 × 50.8 × 5 cm (22 × 20 × 1 15/16 in.)
Type:
Textile and Fiber Arts
Geography:
Vicinity of Ida Ou Semlal, Souss-Massa Region, Morocco
Date:
Late 19th century
Label Text:
Imazighen or Muslim Berber jewelry from the western Anti-Atlas region is characterized by an abundance of yellow, green and red enamel decoration. Among the more well-known examples is the tizerzaï or fibula (fibulae, pl.) or clasp--an impressive silver ornament, usually triangular in shape, with a pin and clasp element at the top. The clasps are used to fasten a woman's cloth veils and wrappers in place. A pair of clasps may be attached to a decorative enamel band joined together by a central silver and enamel egg-shaped bead (tagmout) pectoral that would ornament the lower chest and upper torso of the wearer. Settings of red and green glass stones provide added visual interest. Published sources suggest that the inverted triangle represents the female form, and the central egg-shaped bead serves as a fertility symbol. Silver is a preferred material in much of Morocco where it symbolizes honesty and purity.
Muslim populations in much of Morocco have long been called Berbers, but there is a recent and growing movement in the nation to use the term Imazighen, which means the free people. This style of fibula identifies it as a type worn by the Muslim Ida ou Semlal peoples of the western Anti-Atlas region. The workmanship is characteristic of Jewish artisans who created works for Jewish and Muslim clients alike. The Jewish presence in Morocco dates to the latter part of the first millennium C.E. and was firmly established by the 11th century when the Almoravids, Muslims from northern Africa, conquered lands as far as southern Spain in their efforts to spread Islam. In southern Spain, Jewish goldsmiths were especially well known for their enamel and niello work, as well as filigree and gilding--techniques they brought with them to Morocco during centuries of interaction. In the 16th century, population pressures led Jewish artisans to move to the interior and south to the Anti-Atlas region of Morocco. Today, as in the past, Jewish goldsmiths produce works for themselves and for their Muslim neighbors with whom they have lived for generations.
Description:
Two silver ornaments, triangular in shape, each with a projecting metal pin and open-hoop clasp at the top. The front of each clasp is embellished with two sets of engraved triangular linear patterns and an all-over stippled design, and both types of designs are enhanced with niello. Raised areas are ornamented with red, yellow and green enamel. A red glass stone with silver setting draws attention to the tip and center edge of the triangular ornaments. The edges of the triangular portions of the clasp are irregular, formed by raised step patterns. The pin of each clasp is decorated with engraved chevron and diamond patterns and ends in a sharp point; the ends of the open-hoop clasps are ornamented with red glass stones. A small silver hoop at the base of each triangle joins the clasp to a flattened silver and enamel band which, in turn, is joined to a single large silver and enamel egg-shaped bead. These areas are decorated with yellow, red and green enamel designs. Seven small circular pendants, five with red or green glass stone centers, are suspended below the large central bead and along the outer edge of the adjoining bands.
Provenance:
Ivo Grammet, Morocco, ca. 1987-1988 to 2002
Exhibition History:
Pavilion: A New Look, National Museum of African Art, Smithsonian Institution, Washington, D.C., October 9, 2019–ongoing
Content Statement:
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