1. Ring, ali-ali cakrawaka
Gold, sapphire; Bali, Indonesia; 1900-1970; gift of F. Liefkes; RV-Liefkes-314
Ali-ali means ring in Balinese. Cakrawaka is a kind of heron, two of which feature on either side of the ring, holding the sapphire with their bills. The refined technique used to make this ring is typical of South Bali. The size of the ring suggests it was worn by a man. He might have been a priest, as they wore rings like this during rituals, or he could have been an aristocrat or royal.
2. Ear ornaments, subang
Gold; South Sulawesi; Indonesia; pre-20th century; gift of F. Liefkes; RV-Liefkes-356
These ear ornaments are worn by noblewomen. The long section hangs obliquely from the back of the earlobe. The redness of the gold was achieved by rubbing it with nitric acid or tamarind.
3. Bracelet, lola
Gold, rubies, resin; South Sulawesi, Indonesia; 19th century; gift of F. Liefkes; RV-Liefkes-392
This type of bracelet was worn by aristocratic Toraja families and by the royal family of Masamba, Luwu, in Central Sulawesi. This region grew prosperous from rice production around 1900.
4. Pendant with chain
Gold; Tanimbar, Indonesia; 1400-1700; TM-5787-3; courtesy of the Rembrandt Association and Mondrian Fund
This pendant, which dates from the late East Javanese period (1400-1700) probably comes from Java or Bali. In Tanimbar, where the pendant was found, gold is regarded as dangerous, a ‘hot’ metal. It is the preserve of the nobility, who keep it in the family home for generations. This pendant features an image from the Indian story known as the Mahabharata. It depicts Prince Arjuna, who was tempted by heavenly nymphs while meditating.
5. Head ornament
Gold, mica; Sumatra, Indonesia; 19th century; gift of F. Liefkes; RV-Liefkes-442
A head ornament made of gold sheet in which tiny stones made of mica, a mineral that glitters, have been set. Twigs with leaves used to be attached at the top. The floral and leaf decoration suggest that this crown comes from Sumatra.
6. Pin in the form of a bird
Gold alloy; Savu, Indonesia; before 1971; purchased from A.B.C. Frieser-Lans; TM-3993-10
This gold pin in the form of a bird is part of a complete ceremonial set of crown jewels worn by one of the daughters of the raja, or monarch, on the island of Savu. This pin was worn on the kain raja, a patterned wrap worn only by the royals.
7. Bracelets
Gold alloy; Savu, Indonesia; before 1971; purchased from A.B.C. Frieser-Lans; TM-3993-4, -5
The orange-red of the bracelet is created by staining, using a method common in several places in Indonesia. It involves dipping the item into a boiling mix of nitric acid, alum and salt.
8. Handkerchief ornament
Gold; Savu, Indonesia; before 1971; purchased from A.B.C. Frieser-Lans; TM-3993-8
This piece would be attached to the end of a handkerchief. The pear would have contained amber, spreading a pleasant aroma through the clothes.
9. Brooch
Gold alloy, pearls; Savu, Indonesia; before 1971; purchased from A.B.C. Frieser-Lans; TM-3993-6
10. Bracelet
Gold; Savu, Indonesia; before 1971; purchased from A.B.C. Frieser-Lans; TM-3993-3
The snake eating its own tail is a common motif for bracelets in Indonesia. Snake bracelets in all shapes and sizes were particularly common on the island of Savu.
11. Bracelet, gelang mas, worn by village chiefs
Gold, silver; North Sumatra, Indonesia; before 1920; gift of Batak Institute; TM-114-12
This type of bracelet is worn by Karo Batak village chiefs in North Sumatra as a sign of their distinguished position and power. The core of the bracelet is made of suasa, a gold alloy with a high red copper content, around which four sheaths of heavily gilded silver have been applied. The decoration consists of fine wirework (filigree) and tiny granules of gold.
12. Pendant rattle in the form of a bird
Gold; Costa Rica or Panama; AD 700-1520; courtesy of MAS - Museum aan de Stroom
This piece of jewellery, worn on the chest, depicts a bird. It is hollow, with a rattle inside. Rattles can be used both for protection, and to summon certain forces. They operate at the boundary between two worlds: the visible world of humans, and the invisible upper world.
13. Ear ornaments
Gold; Nias, Indonesia; 19th/20th century; gift of F. Liefkes; RV-Liefkes-452
A pair of wear ornaments worn by aristocratic women in combination with the rai ni wöli wöli crown (number 14).
14. Crown, rai ni wöli wöli
Gold, silver; Nias, Indonesia; 19th century; gift of F. Liefkes; RV-Liefkes-441
Noblewomen and priestesses would wear these crowns when they were dressed in full ceremonial dress, to celebrate the harvest, or a wedding, for example. The combination of horizontal and vertical elements probably symbolises the preservation of cosmic unity. In Nias tradition, the cosmos consists of complementary opposites, like the upper world and the underworld, male and female, heaven and earth, village and forest, life and death.
15. Necklace, nifatali
Gold; Nias, Indonesia; 19th century; gift of F. Liefkes; RV-Liefkes-444
This necklace is made of gold wires twisted around one another, symbolising the ties between the village inhabitants. Jewellery would be worn by aristocratic men and women. The size and weight of the necklace would depend on the status of the owner.
16. Rings, mpetea
Gold; Asante; Ghana; before 1991; purchased from Galerie Balou; TM-5373-3, -4
Every king and important tribal leader wears many rings on both hands. The images on the rings represent sayings that refer to their royal status and personal qualities.
17. Necklace, adaabobere
Made by Kings & Queens; replica; metal; Asante; Ghana; before 2000; commissioned for TM Junior; TM-6095-66
The purpose of this royal necklace is to provide a focal point to which all eyes are drawn during gatherings. The triangle symbolises femininity and feminine virtues. The necklace represents a saying: Wonkwati kokuroboti mmo po, which means that one cannot take an important decision or resolve difficult problems without an elder or chief present. This underlines the fact that the chief is the greatest authority when it comes to resolving problems. At the same time, it is a warning to those of lesser rank not to disrespect him.
18. Necklace, krakonmu awisiado
Made by Kings & Queens; replica; metal; Asante; Ghana; before 2000; commissioned for TM Junior; TM-6095-67a
This piece is one of the special necklaces belonging to the king’s soul washer (krakonmu means ‘around the neck of the soul’) or fly swatter. Such necklaces are also sometimes worn by the children of a deceased person (awisiado means ‘love of an orphan’), and occasionally by Adowa or Kete dancers. The circular shape symbolises the divine and the presence and power of God.
19. Crown
Wood, gold foil, velvet; Asante; Ghana; 20th century; purchased from African Art – Rotterdam; WM-73840
Gold objects have been sold and replaced by replicas for financial reasons, but not all the real gold is gone. It is carefully stored by the national treasurer, the gyaasehene, who holds the only key to the treasury. Most kings choose to wear imitation gold at public events. A king will get out his real gold treasures only for very special occasions.
20 and 21. Necklace, konmuadee
Made by Kings & Queens; replica; metal; Asante; Ghana; before 2000; commissioned for TM Junior; TM-6095-56, -57
Many kings today buy their jewellery at specialist regalia shops like Kings & Queens in Kumasi. The shops are full of ‘gold’ jewellery, there for all to buy. Gold and gold-plated jewellery has now largely been replaced by fake gold and gold paper.
22. Armband for a Queen Mother, kapo
Made by Kings & Queens; replica; metal wire; Asante; Ghana; before 2000; commissioned for TM Junior; TM-6095-58
23. Porcupine bracelet, kotoko
Made by Kings & Queens; replica; metal; Asante; Ghana; before 2000; commissioned for TM Junior; TM-6095-59
When a king appears in full regalia, no one can help but be impressed by the large quantity of gold jewellery he wears. His armpits, wrists, fingers, ankles and neck are all bedecked with gold. It is so heavy that every king has someone walking beside him whose job is to support his arm.