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. . constantly itself around turned and wire silver tiny a with tail long the of end Goitein S.D. 1975: 9. 1975: S.D. Goitein logisches Museum Berlin Museum logisches Ethno

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78 Berger, The Scorpion Baessler–Archiv, Band 57 (2009) 75

It is known that in the nineteenth and twentieth centuries Jewish jewellery, in Yemen in 1909 see Tamir 1982:10. general and in Ṣan‛ā in particular, had been turned to a second name to amulets. However, For a big Khoratah over The Scorpion Jews of Yemen had a dispute regarding amulets long ago. Those who follow Maimonides, the chest of little children reject it. Those who follow Kabbala accept it.5 This photographic rare Labbah clearly photographed by Yihye Haybi in Ṣan‛ā between presents this situation. Its hidden parts present an amulet, whilst, its shown parts present 1927–1944, including his ORA BERGER, Ramat-Gan a jewel. “The seen and the hidden’’ is the most important dominant feature of Jewish je- kids, see Sha’ar 1985: 19, wels in Ṣan‛ā at the end of the nineteenth and at the beginning of the twentieth centuries. fig.17, 25, fig. 31, 29, fig. Abstract. The phenomen pilgrimage to Ta‘izz, south west Yemen, to the grave of the Jewish 42, 39, fig. 66, 53, fig. 95, on of and Yemeni poet Shalom (Salim) al-Shabazi (1619 –1680†) is well known. However, the scor- The above mentioned photographed silver Labbah choker and the scorpion on each 64, fig. 19,1 86, figs. 156, of its two silver triangular Tatarif is a rare, unique and a very early prototype of Labbah 157, 87, fig. 158, 88, pion in that context has been less scrutinized. I wish to focus on the phenomenon of pilgrimage to his grave, by Jews and Muslims, from the in the frame of the nineteenth century (Fig.1). Its little size, its very modest appearance, fig.161.Also see Berger 1987: 121. point of view of art history. The target is to shed light on the scorpion as a symbol of fertility. The the hammering technique of the scorpion, the solid silver and the totally absence of fili- 9 In 1981, in the frame of basis is the belief that visiting his grave will cure infertility. While being there, the appearance of gree technique, are the features of this type of choker at its beginning phase in the nine- my M. A. thesis, I inter- an alive scorpion was considered a sign of cure. teenth century and therefore extremely important example for the research of the devel- viewed Name Badihi who The scorpion will be shown in four new types of Jewish jewellery from Ṣan‛ā from the second opment of Labbah. got married in Ṣan‛ā in half of the nineteenth century and the first half of the twentieth century, as well as, its origin in 1902 in the age of tenth Jewish and Islamic art and belief. Almost no such Labbah choker was left, as well as, its visual documentation. Most years old. She was Labbāat (pl.) known today are from the third and the fourth decades of the twentieth adorned with one big [Yemen, Shalom (Salim) al-Shabazi, jewellery, scorpion, fertility] century and present the peak of the jewel. As the hammering technique had already to- Khoratah and two little Khorayuth. The informa- tally vanished from the Jewish silversmith in Ṣan‛ā at the third and the fourth decades tion was supported by of the twentieth century, the image of the scorpion vanished as well from these late more three other women, Introduction Labbāat. also in the status of “Girl Bride”. I am extremely Hence, Labbah in its peak has no scorpion at all on its Tatarif, rather not on any thankful to all of them. From 1882 till 1950 Jews of Yemen made Alia (come back) to Israel. This had turned other of its parts. This is the exact case with Labbah in the rare photos of the Jewish For the “Girl Bride” and Israel to the only place in the world to research phenomena of Jews of Yemen in real bride, taken in Ṣan‛ā in 1934 by Carl Rathjens, as well as, by Yihye Haybi in 1927–1944 her adornment with a big time of its still happening in Yemen, including jewellery.1 – a member of the Jewish community (Figs. 4, 7).6 In the third and the fourth decades Khoratah and two little Khorayuth see Berger The scorpion is the main iconography of four types of jewellery brought into Israel, of the twentieth century Labbah was tied also to the chin of the Jewish bride and not 1987: 55 – 57, 68, 121. as well as, existed in Ṣan‛ā in the Jewish community in parallel time: Labbah (s.), only to her throat. As clearly shown, Labbah of the third and the fourth decades of the 10 In 1981, in the frame of Lazem (s.), Khoratah (s.) and Aqrabe (s.).2 All the four are new types dated to nine- twentieth century is different from the choker that was tied to the throat of the Jewish my M. A. thesis, I inter- teenth and twentieth centuries, not known in the eightieth century in an‛ā (Berger viewed this bride, named Ṣ bride in the nineteenth century (Figs. 1, 4, 7). Same Garta, who dated 1987; Berger 2005). There is no scorpion at all in Jewish iconography in the Jewish Labbah in its peak has no scorpion at all and is made as a filigree work. The vanish- the photo to 1941. I am community in Ṣan‛ā in the eighteenth century, except only from one type of jewellery ing of the scorpion on Tatarif initiated a constructional change. As Tatarif stopped being thankful to her and to dated from the end of the eighteenth century/the beginning of the nineteenth century, of Ruma Haybi, the photo the most important part of Labba as a result of the absence of the scorpion from the big grapher’s widow, for the which I named Humat al-aqrab(s.) – “Scorpion’s Venom”, from the reasons explained Tatarif, thus, Tatarif had turned only to the technical solution to lock the jewel. As a photo. For other grooms below (http://www.oraberger.co.il/phd/). result, the proportions of Labbah had changed. The focus was turned from Tatarif to the adorned with Khoratah This paper is concerned with the scorpion in the above mentioned new types of Jew- chains in the center. Whilst the size of Tatarif was constantly shrunken, the chain units photographed by Yihye Haybi see Sha’ar 1985: ish jewellery in Ṣan‛ā in the nineteenth and twentieth centuries. At the essence of its in between were constantly elongated and widened. That direction of the development 74, fig. 133, 80, fig.146. existence lie three questions. First, whose scorpion is it? Second, is the scorpion a new had turned Labbah from one type to another type. From a heavy choker of the nine- 11 For photos showing iconography in Yemen? Third, what is the art formula of the scorpion and what can we teenth century it had gradually changed to a light yet big filigree breast plate as known Aqarib (pl.) hanged till conclude out of that? the Jewish bride’s belly, in the third and the fourth decades of the twentieth century. photographed in Ṣan‛ā 1 The four founders of That change enabled to adorn Labbah in its peak, also in a new way – on the chin of by Carl Rathjens in 1934, the research on Jews of the bride (Fig. 4). That had happened only in the religious ceremonies of the wedding in see Berger 1987: figs. Yemen in Israel at the The Scorpion and Shalom (Salim) al-Shabazi XX.1–XX.2. I would time are Erich Brauer, order to combine the most important ceremonies with the most beautiful combination of like to thank Dr. Rüdiger Simon Gridi, Prof. Boris jewellery, known in Judeo-Yemenite as Tsbuk Lulu (s.) (lattice of pearls). However, in Vassen and Gertrud Schier Schatz and Mordechai One of the firstphenomena that had been researched in Israel is the pilgrimage to Ta‘izz the non religious ceremonies Labbah in its peak was adorned on the chest of the bride for the photos. For photos Narkiss. Erich Brauer to the grave of the Jewish poet Shalom (Salim) al-Shabazi (1619 –1680†). Erich Brauer rather tied to her throat. Not necessarily by all the brides, as not all brides had it. The showing Aqarib (pl.) focused on the Jewish hanged till the Jewish women, Simon Gridi on had conducted the research as a field work among Jews of Yemen in Israel at the first development of Labbah shows a phenomenon, in which the name of the jewel is not bride’s belly, photo- jewellery, Boris Schatz years of the twentieth century (Brauer 1935: 65 –169). changed, but the type of the jewel is changed in a slow process, due to the process of the graphed in Ṣan‛ā by Yihye on acquiring Yemenite art One of his conclusions shows the scorpion as a symbol of fertility. The basis is the disappearing of the scorpion from it. Haybi in 1927–1944 see to The Jewish National popular belief that visiting al-Shabazi’s grave will cure infertility. While being there, the Sha’ar 1985: 73, fig. 130, Museum Bezalel which 77, fig.139, 78, fig. 142, was at the time part of appearance of an alive scorpion was considered as a sign of cure. The alive scorpion 81, fig.148. Bezalel Academy of Art was taken confidentially. The phenomenon was wide and was common to Jews and Lazem (breast necklace) 12 For more Gargush Mizah- (established 1906, Jeru Muslim women (Brauer 1935: 168). har see Brauer 1934: fig. salem) and Mordechai The scorpion on Tatarif of Lazem (breast necklace) is the same case as the scorpion on 3 / 2; Berger 1987: figs. Narkiss on Jewish art. For Earlier information on that phenomenon and its wide popularity among Jews and

Tatarif of Labbah mentioned above. This specific Lazem was brought into Israel at the I – I.11; Christie’s Amster- the M. A. thesis of Simon Muslims was provided by Yaakov Saphir, an emissary from Israel to Yemen in 1859

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69 (2009) 57 Band , Baessler–Archiv Scorpion The , ger Ber 84

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76 Berger, The Scorpion Baessler–Archiv, Band 57 (2009) 77

(Yaari 1951: 135). That puts the peak of this phenomenon in the middle of the nineteenth Gridi, see Gridi 1937. For century, and its beginning sometime between al-Shabazi’s death (1680 †) and Saphir’s jewellery as acquired by visit of 1859. Prof. Boris Schatz and Mordechai Narkiss to The Tobi shows, on the basis of earlier Islamic sources, that pilgrimage was natural to Jewish National Museum Jews who were condemned for that by the Prophet. However, in the last centuries that Bezalel, Jerusalem, see habit hardly kept by Jews of Yemen, except two pilgrimages, of which that to Ta‘izz is Narkiss 1941. The stories the most famous (Tobi 1964: 81, n. 7). Al-Shabazi’s pilgrimage was so popular that when of the Yemenite jewellery that had brought to Israel Jews of Ṣan‛ā, who were not allowed to arrive to Aden for the come back to Israel, said are varied. Some stayed they are going to Ta‘izz to visit the grave of al-Shabazi, they were allowed to pass (Na with the families. Others daf 1929: 333). found a way outside Israel. Some were acquired for The point that emerges from this, is the direct connection between the scorpion as a Bezalel and later on had fertility symbol of al-Shabazi’s pilgrimage and the new appearance of the scorpion, turned to the jewellery simultaneously, in Labbah, Lazem, Khoratah and Aqrabe as new types of Jewish jewel- core of The Israel Mu seum, Jerusalem. Some lery in Ṣan‛ā. Thus, on the background of the absence of the scorpion in Jewish icono were acquired, much later graphy in Ṣan‛ā in the eighteenth century. on, by The Israel Mu seum. Two of the jewels shown here belong to the last two sources (Figs. 2, an‛ā and the scorpion Fig. 1 Scorpion. Ṣ 5 – 6). 2 The Jewish Manage and Labbah (choker) Hammered on two Tatarif (pl.) (finials) of a Jewish Labbah (s.) (choker). jewels made for Muslim Each Tatrofa (s.) is a three-dimensional box-construction made of solid silver. women in Ṣan‛ā in the .Ṣan‛ā, Yemen ,קאע ביר אלעזב Gā‛ bīr al-‛azab Unfortunately, one of the rarest images of the scorpion is existing only as a photo- nineteenth and twentieth Second half of the nineteenth century. graphed version (Fig.1). As far as I know, it is the earliest known image of the scorpion centuries are not discussed Scorpions & Tatarif were not seen when this Labbah was tied to the throat of the Jewish bride in Jewish jewel from the nineteenth century in Ṣan‛ā. The image of the scorpion here is here. and the married Jewish woman. 3 I would like to thank a hammered relief in the center of each of Tatarif (pl.), which are the two triangular box- Black-white rare photo. Dr. Rüdiger Vassen and Photographed by Carl Rathjens in 1937 in the workshop in the home of a Jewish silversmith in construction finials comprising the locker ofLabbah . Gertrud Schier for the Gā‛ bīr al-‛azab whilst this Labbah was brought into by Jews to be melt as an old piece for its This Labbah was brought into the studio in the home of a Jewish silversmith in photo (forth travel of heavy solid silver. Carl Rathjens to an‛ā Ṣan‛ā, in 1937, to be melt for its heavy silver as an old Jewish piece of solid silver. It is Ṣ Hamburg, Hamburgisches Museum für Völkerkunde. 1937–1938). Courtesy of the Hamburgisches Museum für Völkerkunde, Hamburg, Germany. a very heavy piece, as that specificLabbah is comprised out of plenty box-construction 4 I would like to thank Sima units, each made of solid silver three-dimensional box-construction. This Labbah had Golan and Ofra Brono for been photographed there by Carl Rathjens from the Hamburg Museum of Ethnography giving me their Seminar. Golan and Ofra Brono had interviewed such silversmith and examined his Raziel the For reconstruction of in Ṣan‛ā between the years to his request, just before its melting, as a honor gesture of the Jewish silversmith, some “Angles Script” see 1927–1944 see Berger Angle manuscript, for centuries in his family (Golan, Brono 1975: 13 –19, figs. whose name is not known yet.3 Budge E. A. 1930: 440. 1987: 16 –17, fig. XX.10. 39 / 2 – 39 / 4). A copy of some pages is in my possession.4 Secrecy was always a demand The art formula of the scorpion here is very clear. It is an “up to down” view on a real The scorpion is in exam- I would like to thank for the book of Raziel the Angle and therefore, in the frame of this tradition, I do not ple no. 3 (third line right). Ruma Haybi, the photo scorpion. It should be emphasized that an “up to down” view on an object was the most The triangle is in example grapher’s widow for the wish to publish the pages. common artistic way of presentation in Yemen, no matter in what medium. Hence, that no. 2 (second line right). photo. See Sha’ar 1985: Being an amulet provides the explanation why a lot of thought and work had been is not unique, neither to Jewish silversmith, nor to the nineteenth and the twentieth cen- 5 The controversy first 73, fig. 130, 74, fig. 131, invested by the Jewish silversmith in the hidden locker of Labbah, not seen at all, when turies Jewish art in an‛ā. As for example, an “up to down” presentation of varied ob- came to the open in the 79, fig. 144. For Labbah Labbah was tied to the throat. Labbah did not adorn every women, but, exclusively the Ṣ late nineteenth and the of the Jewish bride in the jects is shown in ‘carpet pages’ (full illuminated pages) of Hebrew illuminated bibles beginning of the twentieth years 1875 –1880 see Jewish bride and / the Jewish married woman. At the end of the nineteenth and at the from Yemen from the thirteenth-fifteenth centuries. century in Ṣan‛ā in other Berger 1987: 100 –101. beginning of the twentieth centuries it was tied only to the throat. It should be clear that However, in our case here, the “up to down” view of the scorpion is in little scale and matters. For the dispute in 7 The Metropolitan Mu not every Jewish bride / Jewish married woman had Labbah as her personal property, as the open, known among seum of Art, New York, the body looks as it is eliminated and merged with the tail into a long and narrow ham- Jews of Yemen as the 91.1136. Bequest of Labbah was a very expensive jewel. mered line. In addition, the poison gland – the most dominant feature of the scorpion – ‛Iqshim and Darda‛im Edward C. Moore, 1891. To be hidden is a necessary phase for a Jewish amulet, as in Jewish thought, “The is emphasized as a round hammered bulge at the end of the tail. Also, the four couples dispute see Nini 1975. I would like to thank the blessing is existing only in something which is hidden from the eye” (Babylonian Tal- 6 For photos of the Jewish Islamic Department of of legs, typical to the scorpion, are hammered as short straight eight lines. bride adorned with Lab- The Metropolitan Mu mud: Bava Metzia 42a). However, although Tatarif were not seen from the front, every If we look on this specificimage of the scorpion in the eyes of the Jewish silversmith bah, photographed by Carl seum of Art, New York, one in the Jewish community knew the scorpion / the amulet is there, just behind the in Ṣan‛ā in the nineteenth century, we may see something else. The two silver triangular Rathjens in Ṣan‛ā in 1934 for their kind help, espe- neck of the bride. Tatarif , as well as, the hammered scorpion on each, is also the way of the silversmith to see Berger 1987: 17–18, cially to Navina Haidar, After this thought, this rare photographed Labbah encodes two levels – that which is figs. XX.1–XX.2. I would Dr. Marilyn Jenkins and present “Angles Script” from the Hebrew Kabbalistic manuscript known as Raziel the like to thank Dr. Rüdiger Annick Des Roches. revealed and that which is hidden. That which is revealed shows a piece of jewel in its Angle. i. e., instead of writing an amulet on paper or parchment, the silversmith had Vassen and Gertrud Schier 8 For a big Khoratah over beauty. That which is hidden is the amulet: the scorpion. It contains an information en- executed a silver amulet as the locker of this Labbah. for the photos. For photos the chest of a little boy coded within it, to be decoded only by he who knows “Angles Script” from the Hebrew of the Jewish bride photographed by Hermann Raziel the Angle is a very well known manuscript among Jewish silversmith in Yemen adorned with Labbah pho- Burchardt in Ṣan‛ā Kabbalistic manuscript Raziel the Angle, or by he who knows the secret of Al-Shabazi’s and some had brought it into Israel. As for example, in 1975, in the State of Israel, Sima tographed by Yihye Haybi between the years 1901– scorpion (Fig. 1).

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