A digital archive showcasing the extensive collection of jewellery and adornment images shared on the former Ethnic Jewels Ning site over the years. These images have significantly enriched discussions on cultural adornment and its global dispersion.
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Edith, might I be right in thinking that this is wholly traditional but very recently made? It looks too "clean" and "unpatinated" to me for an old piece. I do not mean that there is something "wrong" with a new piece if that is what it is, but am just curious to know what I am looking at. Thank you in any case for ongoing posting!
Yes! This is new and I purchased it as such. But I always like to support the continuation of tradition, and not many Tunisian silver smiths outside of Djerba use the old language. This one is from the north-west of the country. Typically, an older bracelet would usually have a raised rib in the center dividing the 2 bands of design. This bracelet is also much thinner than most old bracelets of similar design.
Thank you! Ah, yes, I can understand the point about the raised rib, and should have thought of that. Of course the weight is something I could not judge, but the surface is easier to "read". Interesting that there are, in fact, smiths who do use what you so very aptly describe as "the old language". For language it is. Excellent commentary, Edith - I do feel very strongly that you should indeed find a way to publish your work in a book, or else on the inter-net, in organised fashion, so as to provide invaluable substantial reference in one particular place. And your writing skills are more than up to the task - quite outstanding, in fact (and this is a professional judgement!).
Hi Edith, I second Joost 100%. You are very knowledgeable and experienced in old , ancient and modern Tunisian jewelry. And you have access to contacts that no one else has on this blog...And you are very aware of fakes, copies, hybrid styles (European influences and old traditional Tunisian background etc....), not to mention your familiarity with the country, its regions, customs, markets etc.......You are first class on the bibliographical studies and your photographs (weddings etc.....) are first class......As for your English, well, Joost is the professional expert!
You could start by writing something here as a skeleton project..........Please think about it!
Please think about it........
I support the motion!. Please, Edith, start writing. The sooner the better for all of us!.
Thank you both for encouraging Edith, Chantal and Jose. We all agree that Edith is ideally equipped.The difficulty will be to circumnavigate the very real problems of publishing. Truus and I are only too aware that it is very difficult today actually to get publishers to put anything like "real" money into a specialised artbook, while the cost of production is horrendous. But we produced something very sumptuous and big. It is not too expensive for what it is, and has been very well received, but although hundreds of copies have been sold, sales are now very slow, and I would suggest to anyone producing an actual physical book on ethnic jewellery that it is essential to think in very practical terms about the cost and the problem of recovering it. If we did a book on a subject like Tunisian jewellery we would want it to be small and saleable at a modest price, and I think I have already said this to Edith, who in any case would realise this herself. It is a real problem these days: we live in a crisis certain to continue for years, or at best to morph into a period of slow growth. Moreover, the book industry in general has largely collapsed also because of the changing technology. My own next book, in the area of Renaissance literature, is due out within a year or so in digital form, and require no financial contribution from me. I think most collectors of art still like art books rather than a digital publication, but the latter should not be ruled out if it can be technically managed, as no doubt it will come to be. Ironically I think the interest in ethnic jewellery is growing, and even a modest hard copy book may prove saleable in the years to come. Another thing to consider is finding one or more sponsors: Bruce Carpenter, publishing (with others) two books on Indonesian jewellery recently, did get substantial sponsorships, and it brought the selling price of both down very considerably. Times have changed greatly. Truus's first book, on antiques in New Zealand (1969) was a modest but not insubstantial publication mostly with black and white photos, and reached the NZ bestsellers list without undue trouble, without costing us a cent. She actually made money on that one ... These days everything must of course be in colour, which adds enormously to the cost of printing, even for a smallish book. But I feel no doubt that at some point or other Edith will indeed produce a treatise on Tunisian jewellery and that she will do a sterling job!
Joost , thank you for the rich comment. good luck Edith
Thanks everyone for the encouragement! Now I have to live up to all the expectations....Yikes! I have been thankful to all those members of this forum who have offered me feedback, giving me some ideas about what type of information is useful, and also in helping me to formulate good questions. I think some of these questions will remain, even after I (ensh'allah) publish something. But, this is the nature of any worthwhile research project. I am also grateful to all those forum members who have longer experience in North African and ethnic jewelry than me. I have only been researching Tunisian jewelry for three years, so there are many others who have steered me in the right direction and have provided me with valuable info. Thanks again to everyone.