Silver clothes pin

Vervaardiging: Abdallah Ben Ahmed

Clothes pin with a pendant in the shape of a stylised hand, made by silversmith Abdallah ben Ahmed. The manufacture of silver jewellery was traditionally a craft practised by Jews in Morocco. In the 1950s and 1960s, almost all the Jewish silversmiths emigrated to Israel. The craft was taken over by Muslims, but because they didn't know the techniques it took several decades before they could match the quality of the old jewellery. This clothing pin is a witness to this.‖ Central to the amulet pendant are two mihrabs engraved with a hand of Fatima in between. The mihrab is the niche in mosques that indicates the prayer direction (qibla) to Mecca. Both the amulet pendant and the hand of Fatima have a magical and religious meaning and offer protection against evil. Above the amulet pendant is an ornament in the form of a cross. The cross is a familiar motif in Berber jewellery and other objects and is particularly used by the Tuaregs in the Sahara. A connection is often made between the cross and the letter 'T' in the Tifinagh script. Tifinagh is the ancient script of the Berbers. \Clothing pins (fibulae) have both a utilitarian and an ornamental function. They were used by Berber women to tie wrapping cloths. They were also part of the breast ornaments women wore at parties and other special occasions. Fibulae were often worn as a pair, the two pins connected by a chain. This way of wearing requires a certain precision, namely that each pin is fastened exactly at shoulder height while the chain hangs at belly height. The link chain, called sinselt or asherrab (Berber), can be simple, but is also often equipped with a spherical pendant decorated with (precious) stones or other ornaments or a decorated amulet. Fibulae can also be worn without a chain, separately. This is the case with this pin. Fibulae come in various shapes, the most common shapes are: triangle, diamond or circle. Especially the triangular shaped fibula is nowadays (since the late sixties and early seventies) used as a symbol for the Berber identity. The emblem of the triangular shaped fibula can be found in various expressions of art and culture and during manifestations.\ The tradition in Morocco is that jewelry is inherited from generation to generation, from mother to daughter. The future bride almost always receives a fibula as part of her trousseau. In addition to their utility and decorative function, these ornaments serve another, economic purpose. One keeps them in situations of financial need to be able to sell or exchange. Jewelry also has a communicative value and can convey certain messages. For example, a piece of jewelry is a sign of love. A woman who wears a fibula, bracelet, earring or a khamsa (hand) made of silver, shows her connection with her traditions and origin. Fibulae and khamsa (little hands) are among the jewels which women value highly. These pieces of jewelry have often been given magical meanings and are among the most commonly used pieces of jewelry.‖ The pin is cast into shape by melting silver in a crucible and then pouring it into a mold and cooling it in cold water. The deepened parts are filled with a black substance. This fabric is made from resin from the juniper tree (taqqa). The rings are made of drawn thread by hitting a rod with a hammer until it has become a thin thread. The motifs are engraved with a hammer and burin. The plate (amulet pendant) was formed in a mould and the edges were trimmed with scissors. Then the relief patterns were engraved on a wooden anvil with a hammer and burin.‖ Despite differences in shape, size and decoration, the process of making fibulae in the Amazigh regions is almost identical. After the silver (raw silver or used jewellery and/or coins) has been melted in a crucible, it is poured into a two-piece mould in which the imprint of the pin is made on wet sand. Next, the two parts of the mould are removed from each other and the pin is removed. The rings of the fibulae are made of wire. Metal is melted and cast in bar form, then it is beaten with a hammer into a thin bar which can be bent with pliers. The geometric motifs and shapes are engraved on a wooden anvil using a hammer and burin. The excavated parts are then filled with a black fabric. This fabric is made from resin from the juniper tree (taqqa). The resin melts by heating and is poured over the band, which is also heated and even hotter. The resin fills in the reliefs and after cooling, the excess resin is ground away with a file. Finally, the pin is polished so that the contrast of the shiny white silver against the brown-black filling is clearly visible.