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For millennia, the gentle glint of a ring has adorned the hands of men across the Middle East, each precious circle a silent storyteller of power, faith, and identity. In Middle Eastern societies, men’s rings, in particular, hold profound cultural significance. While the meaning and symbolism behind men wearing rings have shifted throughout the years, they remain one of the most famous jewellery pieces that stood the test of time.
Ancient Beginnings: The Birth of Symbolism and Status (c. 3500 BCE – 332 BCE)
The story of men’s rings in the Middle East begins in the cradle of civilisation itself. In the fertile lands of ancient Mesopotamia, corresponding to what are now Iraq, Kuwait, Syria, and Turkey, rings served a purpose far beyond mere decoration. The Sumerians, who lived primarily in present-day southern Iraq and were known for pioneering written language and urban living, developed cylinder seals, which were either worn on the finger or suspended from the neck. These seals, typically crafted from materials like stone or clay, were intricately designed and used to impress unique patterns onto clay tablets. This functioned as a form of personal signature or identification card for the elite class. Rulers, officials, and merchants relied on these seals to authenticate documents and assert their authority.
The imagery etched onto these early cylinder seals was laden with significance, depicting a range of figures including gods, animals, and mythological scenes. These designs were not only artistic but also reflected the wearer’s social status, occupation, and spiritual beliefs. The inclusion of deities and cosmological symbols underscored the cultural and religious values of the time, illustrating the profound connection between personal identity, authority, and divinity in Mesopotamian society.
In Assyria, located in what is now northern Iraq, one of the great civilisations of ancient Mesopotamia, rings functioned as a form of currency. Although no coins have been found in Assyrian archaeological sites, it is believed that unrefined metals and rings were used in trade, likely exchanged by weight. Precious metals might have been used in the form of rings or gold dust, facilitating transactions for goods and services, but not in the form of stamped coins or tokens.
As civilisation flourished along the Nile, ancient Egyptians crafted their rings from precious metals like gold, silver, and electrum. Among these, gold held more significant symbolic value than silver due to its divine associations. In Symbol & Magic In Egyptian Art, Richard H. Wilkinson notes that while the bones of the gods were said to be of silver, their flesh was believed to be of pure gold. Silver was rare in its natural form and had to be imported, typically from Syria and the Aegean before the New Kingdom. The Tod treasure from the Middle Kingdom, located south of Luxor, further demonstrates the foreign origins of silver. Egyptian conquests in Asia during the New Kingdom made silver more accessible, while the lack of naturally occurring silver in Egypt also contributed to gold’s preference.
These rings bore hieroglyphics, which were considered to be gifts from the god Thoth, as well as depictions of deities to offer divine protection. A common motif in these rings was the scarab beetle, emblematic of Khepri, the god associated with the rising sun and rebirth. Scarabs symbolised transformation, renewal, and protection—a notion rooted in the beetle’s life cycle. Egyptologist Carol Andrews states in her book Amulets of Ancient Egypt that scarabs were ultimately the most prevalent symbol in Ancient Egypt as “Hundreds of thousands of scarabs were made in ancient times over a period of some two thousand years from the First Intermediate Period until the Greco-Roman Period and not just in Egypt, for the form was soon copied by local craftsmen in Syria and Palestine.” Reflecting their deep belief in the afterlife, ancient Egyptians often placed these rings in the tombs of pharaohs and nobles, entrusting them as precious guardians for the journey beyond.
The influence of ring culture spread to the other side of the Mediterranean, reaching the seafaring Phoenicians—renowned for their maritime trade and craftsmanship. As master traders, the Phoenicians became unwitting ambassadors of ring designs, facilitating cultural exchanges that significantly impacted the Mediterranean region. As they navigated the trade routes, the Phoenicians carried with them an array of rings adorned with intricate nature motifs, animal imagery, and religious symbols, showcasing the aesthetic diversity and spiritual beliefs of the time. The rings often featured elements such as spirals, floral patterns, and imagery of important deities, which were crafted from materials like gold, silver, and gemstones.
The cross-pollination of ideas between the Phoenicians and other ancient cultures led to rich and diverse design motifs in ring craftsmanship. For instance, as trade flourished, motifs from Mesopotamian cylinder seals began to influence Phoenician jewellery, resulting in designs that integrated elements from various cultures, including Egyptian and Hellenistic influences. In 1998, for instance, an excavated tomb on the southern outskirts of Larnaca, Cyprus, revealed a distinctive collection of Phoenician jewellery, dating to the late 8th century B.C. This jewellery likely belonged to a member of the upper class in Kition, and possibly even to a royal family member from the city. The rings and swivel rings discovered in the tomb exhibit a pronounced Egyptian influence, particularly in the decorative depictions of various Egyptian deities and motifs.
This interconnectedness underscored the exchange of not only goods but also artistic ideas, forging a complex web of cultural relationships across the ancient Mediterranean.
The Classical Period: Expansion and Refinement (332 BCE – 651 CE)
As Alexander the Great’s conquests reshaped the ancient world, a new chapter in the story of men’s rings unfolded across the Middle East. The fusion of Greek, Roman, and local traditions sparked a renaissance in ring design, expanding their symbolic repertoire and refining their craftsmanship. Alexander the Great, one of the greatest military strategists and leaders in world history, used to wear a signet ring.
According to the account of Alexander the Great by the Roman historian Curtius Rufus, before his death, Alexander passed his signet ring to Perdiccas, a Macedonian general and eventually his successor. Perdiccas claimed now that Alexander meant for him to bear the burden of regency until his son, Alexander IV, was old enough to assume his duties and privileges. This signet ring here represented a powerful emblem of authority and Alexander’s legacy. A light signet ring carried the monumental weight of leadership now resting on Perdiccas’s shoulders — or rather, his fingers.
The death of Alexander the Great in 323 BC traditionally marks the beginning of the Hellenistic period, which ushered in a golden age for signet rings. These miniature portraits of power, often bearing the wearer’s personal emblem or likeness were used to authenticate everything from love letters to state decrees. The Greeks would then introduce a touch of mysticism to the ring-wearing tradition. Gemstones like amethysts and garnets, believed to possess protective and healing properties, were incorporated into ring designs, adding both beauty and perceived spiritual value.
As the Roman Empire extended its reach across the Middle East (30 BCE – 476 CE), it brought with it a penchant for the dramatic. Signet rings grew more elaborate, with intricate intaglio carvings that turned each ring into a wearable work of art. Gods, emperors, and mythological scenes adorned these rings, serving as declarations of the wearer’s status, affiliations, and cultural tastes. In 2016, University of Cincinnati researchers uncovered the tomb of a Bronze Age warrior in Southwest Greece. The discovery included four gold signet rings bearing highly detailed Minoan iconography offering one of the best examples of a Mycenaean-Minoan cultural transfer and painting a more vivid picture of early Greek society. The rings showcase incredible attention to detail and artisan workmanship.
This evolution of ring design and meaning continued with the spread of Christianity from the 4th to 7th centuries CE. In contrast to the ostentatious Roman styles, Christian rings emerged as understated yet powerful accessories. Bearing symbols like the cross, the chi-rho, or the fish, these subtle accessories served as discreet identifiers among the faithful during times of prosecution. In 2021, an early Christian ring was found in a third-century shipwreck near Caesarea where Christianity was just in its beginning then. The ring bears an image of a shepherd boy with a sheep on his shoulders, symbolising Jesus as the “Good Shepherd.”
The Islamic Golden Age: A Flourishing of Art and Culture (651 CE – 1258 CE)
As the Classical period drew to a close, a new force emerged that would reshape the cultural landscape of the Middle East. The rise of Islam in the 7th century CE marked a pivotal transition, building upon the rich traditions of ring-wearing while introducing novel concepts and designs. This new era would see men’s rings evolve once again, adapting to fresh religious and cultural imperatives while retaining their fundamental role as symbols of identity and status.
During this period, the Aqeeq ring gained prominence, crafted from stones such as carnelian and agate. These gemstones were believed to possess protective qualities, often enhanced by intricate inscriptions of Quranic verses or the names of Allah. For Muslim men, the Aqeeq ring became a profound expression of faith and a talisman offering divine protection. The inscriptions served as constant reminders of the wearer’s spiritual commitments and the overarching presence of God in their life.
As Islamic civilisation continued to flourish, the artistry and significance of men’s rings reached new heights during the Abbasid Caliphate (750-1258 CE). This period was the zenith of the Islamic Golden Age, with Baghdad emerging as a global centre of learning and craftsmanship. Ring design, like other art forms, experienced a remarkable evolution. Intricate Arabic calligraphy and religious inscriptions adorned rings of all types, from the everyday wear of the faithful to the official seals of scholars and statesmen. Signet rings, continuing their ancient legacy, served both practical and symbolic purposes, authenticating documents and declaring the wearer’s status and faith. In Arabic, the word for “ring” is “khatim,” a term that literally translates to “the sealer.” This word finds its roots in “khatm,” which means a “stamp” or “seal”—a nod to the historical use of rings for sealing documents.
The inscriptions of the Abbasid caliphs encompassed multiple meanings, one of which was the notion of trust in God. Muhammad Mahmoud Ahmed Al-Droubi notes in his book Inscriptions of the Abbasid Caliphs’ Rings that the themes of trust and faith were often intertwined in the inscriptions of the early Abbasid caliphs. This tradition was inspired by the inscription on the ring of the first Abbasid caliph, Abu Abbas Al-Saffah (104-136 AH), which read, “God is the trust of Abdullah, and by Him he believes.” This established a pattern that many subsequent caliphs followed in their own ring inscriptions, making appropriate changes to reflect the name of the caliph who bore the inscription.
When the Prophet Muhammad wanted to write to Khosrow of Persia and to Caesar of Rome to invite them to Islam, he was told that the Persians would not accept a letter unless it was sealed. Therefore, he created a silver seal engraved with “Muhammad, Messenger of Allah.”
It is said that this seal was passed down to the Rightly Guided Caliphs, starting with Abu Bakr Al-Siddiq, followed by Umar ibn Al-Khattab, and then to Uthman ibn Affan. The latter lost it in the Well of Aris near Quba, south of Medina, in the year 30 AH (651 CE), and it was never found again. Uthman then made a new seal similar to it, as noted by Dr. Hussein Al-Haj Hasan in his book Islamic Systems.
In Islam, the wearing of certain types of rings is considered a Sunnah (tradition) of the Prophet Muhammad, carrying significant religious meaning. Among these, the Aqeeq ring—crafted from carnelian or agate—is highly esteemed by Muslims. The Prophet is reported to have worn an Aqeeq ring, setting a precedent for Muslim men. These stones are believed to possess protective qualities and are often inscribed with Quranic verses or the names of Allah. Worn as symbols of faith, Aqeeq rings are perceived as talismans that bring blessings and ward off evil. In particular, carnelian is thought to provide strength and courage, and its significance stems from the belief that it was favoured by the Prophet.
Equally important is the metal used in ring crafting, which carries cultural and religious significance. Silver is highly regarded in Islamic tradition and is often used for men’s rings, in line with the Sunnah of the Prophet, who wore a silver ring. This metal is viewed as pure and modest, reflecting the values of simplicity and humility in Islamic teachings. In contrast, gold has traditionally been reserved for women in many Islamic cultures due to prohibitions against men wearing gold, as it is associated with extravagance and vanity.
The Medieval Period: A Fusion of Cultures and Designs (1250-1922 CE)
As the Islamic Golden Age waned, a new era dawned in the Middle East, marked by cultural exchange, conflict, and the rise of powerful new dynasties. The Mamluk Sultanate (1250-1517 CE) ushered in a renaissance of ring design from its power centres in Egypt and Syria. Known for their patronage of the arts and their fine metalwork, Mamluki rings carried elaborate designs, weaving together motifs from nature, geometric patterns, and the flowing lines of Islamic calligraphy. This period also saw a surge in the use of precious gemstones, with emeralds and rubies adorning the fingers of the wealthy and powerful.
As the Ottoman Empire (1299-1922 CE) rose to prominence, it brought a new aesthetic that would define ring design for centuries. Ottoman rings were statements of opulence, reflecting social status and wealth. They often featured Islamic art and motifs, such as calligraphy with Quranic verses, while embracing diverse cultural influences within the empire. They were mostly crafted from gold and lavishly adorned with diamonds, sapphires, and emeralds. Perhaps most iconic was the introduction of the tughra – the Sultan’s signature – on rings, serving both as a symbol of authority and a personal seal. These rings held such profound value – both literal and symbolic – that they came into play in politics. They were used as diplomatic instruments, given as gifts to forge alliances and demonstrate power.
In their book Art of the Islamic World: A Resource for Educators, Maryam D. Ekhtiar and Claire Moore note that Tughras were created to “visually convey the Sultan’s identity and showcase the talents of his Court artists.” The vibrant colours and elaborate details expressed both the wealth and power of the Sultan and served as proof of the quality of the work of his chosen artisans. The goal of any document bearing a Tughra was to communicate a message bearing authority and to indicate the Sultan’s support for the message of that document.
The hybrid ring designs that emerged during this period were a natural outcome of the unprecedented cultural synthesis in the region. The Crusades, Mongol invasions, and expanding trade networks brought the Middle East into closer contact with Europe and Asia, fostering a rich exchange of ideas and aesthetics. Rings bearing both Islamic calligraphy and Christian symbols became common among traders and diplomats who operated between different regions.
The Modern Period: Revival and Reinvention (19th Century – Present)
As the sands of time shifted in the Middle East, so too did the artistry of men’s rings. The 19th and 20th centuries ushered in an era of profound change, with nationalism, colonialism, and modernisation leaving their marks on these miniature masterpieces.
The 19th century sparked a renaissance of traditional designs. As European powers cast long shadows across the region, Middle Eastern nations sought solace in their cultural roots, drawing inspiration from their rich heritage. Rings began to function as silent symbols of resistance, proudly adorned with national emblems such as the crescent and star and featuring time-honoured Arabic calligraphy and geometric patterns. Local jewellers, such as those in Damascus, renowned for their intricate silver-gold filigree work, began to experiment, blending ancient techniques with contemporary designs, thus forging a path between tradition and innovation.
The arrival of the 20th century brought the transformative influence of oil wealth. As black gold flowed into the economies of the region, so too did a wave of opulence. Rings became increasingly elaborate, adorned with a dazzling array of gemstones such as rubies, emeralds, and diamonds, reflecting newfound prosperity and the desire for luxury. The emergence of brands like Van Cleef & Arpels in the Middle Eastern market captivated the affluent clientele by blending Western luxury with local motifs, incorporating themes like Arabic calligraphy into their designs.
Today, in the 21st century, we witness a captivating fusion of old and new. Contemporary designers are modern-day alchemists, transmuting historical motifs into avant-garde creations. Picture an Ottoman-inspired ring, its familiar turquoise and gold filigree reimagined with a cutting-edge gemstone cut or a sleek, minimalist twist. These pieces speak to a new generation of Middle Eastern men, proud inheritors of a rich past yet firmly rooted in the present.
This cultural revival extends beyond established names. A wave of young designers, particularly from the Gulf, is riding the crest of tradition into new territories. Emirati artisans, for instance, are breathing new life into Arabic calligraphy, etching ancient words onto rings of titanium and carbon fibre, offering a timeless connection to the past and a vibrant expression of the present.
Supporting local artisans and preserving traditional jewellery-making techniques is essential, ensuring the survival of these skills for future generations. For instance, the Dubai Design District frequently hosts exhibitions and workshops featuring local jewellers who showcase their craftsmanship and share their techniques with broader audiences. These events highlight the importance of preserving traditional arts while also encouraging innovation and creativity within the jewellery-making field. By wearing rings created by local craftsmen, individuals express pride in their heritage and contribute to the preservation of their cultural traditions.
The craftsmanship involved in creating rings showcases the skill and creativity of Middle Eastern artisans, who continue to innovate while preserving traditional techniques. The choice of materials, gemstones, and designs in men’s rings is deeply influenced by cultural, religious, and personal factors.
Traditional techniques such as filigree, granulation, and enamelling allow jewellers to create intricate designs, blending art with symbolism. Filigree, for instance, involves twisting fine metal threads into delicate patterns that symbolise unity and continuity. Granulation enhances visual appeal through small metal spheres, symbolising abundance and prosperity, while enamelling brings vibrant colours to life, creating artistic statements that resonate with cultural significance.
The cultural significance of rings in the Middle East is profound and multifaceted. From ancient times to the present day, they have served as markers of status, faith, personal milestones, and national pride, acting as powerful expressions of individuality and cultural heritage. Whether passed down as family heirlooms, worn as symbols of faith, or custom-made to reflect personal achievements, rings in the Middle East transcend their role as mere accessories. They represent vital symbols of identity, forging connections between the wearer’s past, present, and future.
If this has sparked your curiosity about men’s rings, L’ÉCOLE Middle East, School of Jewelry Arts in Dubai, has launched a groundbreaking exhibition in the region that is sure to captivate both jewellery aficionados and design enthusiasts. The highly anticipated Men’s Rings, Yves Gastou Collection features over 700 remarkable rings from the personal collection of the late French antique art dealer and collector Yves Gastou. The exhibition runs until April 26, 2025.
To learn more about the exhibition (free admission with website registration) and explore L’ÉCOLE’s jewellery courses, visit their website.
