Ancient Broken Beauties
The philosophy of Wabi Sabi, the art of Kintsugi & broken words of the Sufi

We are all broken, Poe
There is nothing more human than that.
Kovacs in dialogue with AI, Poe.
Quote from the Serial, Altered Carbon.

To protect yourself from the rising flood of fake beads, consider this advice:

Pursue the 'Broken Beauties'.

You will not find any counterfeits bearing the deep cracks and scars that come with age and use. Every replica is created with a deceptive illusion of perfection, as that is the aesthetic preferred by collectors from China. Ironically, in their quest for authenticity, these forgers may sometimes introduce superficial flaws to make their work appear more convincing.

This insight can be your armor, shielding you from deceit in the world of ancient beads. Your appreciation for imperfections can serve as a touchstone for authenticity, ensuring that the beads you invest in are genuine artifacts, not merely convincing replicas.
Let me tell you a story.

Mount Kailash

Reflections on Bead Imperfections
Mount Kailash, a revered site for pilgrims, is located in the Tibetan region, neighbored by two distinct lakes that hold contrasting symbolism.
Mansarovar, often associated with divinity, is considered the lake of the Gods, while Rakshas Tal, shrouded in negative connotations, is deemed the lake of the Demons. Consequently, devout pilgrims only circumambulate Mansarovar, deliberately shunning Rakshas Tal.

Paradoxically, the once-pristine Mansarovar now lies polluted, its beauty marred by the detritus left behind by the ever-increasing hordes of ignorant pilgrims. The lake has become a victim of its own popularity. Conversely, Rakshas Tal, being devoid of pilgrim activity, remains immaculate and stunning. The irony of the situation is palpable.

A parallel can be drawn between the story of these lakes and the scenario faced by ancient beads in today's market. Chinese collectors often associate imperfect ancient beads, those with cracks or scars, with bad luck, thus avoiding them. As a result, unblemished, perfect beads are skyrocketing in value due to intense demand, while flawed beads, untouched by the voracious appetite of the market, remain relatively affordable. In the shadow of this disproportionate interest, the overlooked "imperfect" beads retain their original charm, untouched by the 'garbage of greed'.

To unearth the truth behind counterfeit beads, tracing the money provides insightful clues. Pristine, perfect beads are often targeted for imitation, simulacra, while the so-called 'bad luck' beads, marred by their flaws, paradoxically possess a heightened sense of authenticity in the wake of this trend.
In many respects, mirrors a pilgrimage around Rakshas Tal, the untouched lake of the Demons. I cherish beads with flaws, not merely because they are more affordable, but due to the profound connection they inspire. These scarred beads resonate with my own life's journey - a path that doesn't aim for flawless perfection. If perfection crosses my path, I appreciate its presence, but my fundamental pursuit is to embrace the perfection inherent in imperfection. With that in mind, I dedicate this ode to our flaw-marked beads and to life's beautifully imperfect journey. You can read more about this by clicking on the picture below:

                ...and a praise to C. G. Jung

Often the scars, wear, and tear of time contributes directly to the beauty of a bead. Calcification is one of the clearest signs of true age. The calcification on this elongated Indus bead below has a marvelous almost translucent shine.

BB 1 - 56 * 11 mm


Wabi Sabi  & Sufi
Wabi-Sabi (侘寂) is an integral philosophy within Japanese culture, deeply rooted in Zen Buddhism. It focuses on the aesthetics of the 'perfectly imperfect,' symbolizing a profound acceptance of life's inherent imperfections and transience, to the extent of revering them aesthetically. As Wiki puts it, the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes. Seen through a Western lens, one might compare this concept to the philosophical principle of 'amor fati ' - love of one's fate.

Specifically, in Zen Buddhism, where there is no singular personal deity, worship transforms into a deep admiration for the existential human condition as defined by the 'three marks of existence.' These are:

三法印 Sanbōin:

Impermanence (無常 Mujō)

Suffering (苦 Ku)

Emptiness or the absence of self-nature (空 Kū)

One might suggest that Japanese Zen Buddhism offers a resolution to the existential stages posited by philosopher Søren Kierkegaard. Kierkegaard outlined three stages of life - the aesthetic, the ethical, and the religious. However, Zen Buddhism seems to add a fourth stage, looping back to the aesthetic phase but situating it within a transhuman context, yet maintaining a deeply personal religious and ritualized setting for worship. In this sense, even a mundane act such as sipping a cup of tea transforms into a deeply significant, almost spiritual, act of reverence — a ritual conducted within a framework that transcends traditional religious dogmas.

Octavated Aestheticism
This octavated aestheticism manifests in a unique form of religiousness, devoid of any rigid religious doctrine or moral constraints. This concept shares a striking similarity with the realm of the Sufis, where not everyday objects, but poetry becomes the ineffable medium of understanding what the dualistic ordinary mind cannot comprehend. A Zen koan propounds, "If you meet Buddha on the road, kill him." This signifies the notion that any conceptualization of the Buddha falls short of the true essence. In a parallel sentiment, the esteemed Sufi poet Rumi says, "Out beyond ideas of wrongdoing and rightdoing there is a field. I'll meet you there." This evokes the understanding that the true nature of existence lies beyond dualistic concepts of right and wrong. Both philosophies exhort us to transcend our regular frameworks of perception to experience the profound depths of existence.

This aesthetic reverence for the imperfect, transient, and incomplete starkly contrasts the modern, rigid, and nouveau riche Chinese perspective of perfection. Nonetheless, it's essential to remember that Zen Buddhism originated in mainland China, and today's China is among the places in the world undergoing rapid cultural evolution. The era of one-dimensional bead sellers and collectors from China is waning, because in these times of transformative change, the old English adage, "It takes three generations to make a gentleman," no longer holds true. Progress is much swifter than that.

I've recently observed a burgeoning generation of Chinese youth demonstrating socio-emotional aptitude far exceeding what is typically seen among the more self-oriented and hedonistic youth of the West. I apologize for these sweeping generalizations; they are intended merely to incite a bit of thoughtful introspection among Western readers, rather than paint a definitive picture of either culture. It's not uncommon for us in the West to jest at the ways of the emerging affluent in the East. Yet, such laughter has echoed throughout history, anywhere rapid societal change and progression have occurred. If this youthful cohort from Wuhan is indicative of the future, they might not even reciprocate our laughter down the line. They might possess the poise to refrain from such reactions.




The wound is the place where the Light enters you.


Kintsugi Beads
Take a look at the artwork in the middle image above, created by Danish goldsmith Bodil Binner. It vividly demonstrates how a fractured bead's beauty can be rekindled through a golden restoration.

Kintsugi is essentially the art of Wabi Sabi manifested in the golden repair of pottery, as depicted in the above illustration. Christy Bartlett perfectly encapsulates the essence of Kintsugi with this quote:
"There is not only no effort to hide the damage, but the repair is literally illuminated... a kind of physical expression of the spirit of mushin....Mushin is often literally translated as 'no mind,' but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. ...The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject. This poignancy or aesthetic of existence has been known in Japan as mono no aware, a compassionate sensitivity, or perhaps identification with, [things] outside oneself." - Christy Bartlett, Flickwerk: The Aesthetics of Mended Japanese Ceramics - quoted from Wikipedia

These ancient Japanese concepts translate almost seamlessly into the bead philosophy of In the case of a bead's artistic reconstruction, one could regard it as an inspirational adaptation of the Japanese Kintsugi.
What's generally perceived as an imperfection, like the chipped off ends of the beads displayed below, is often considered detrimental to the bead's overall beauty score. However, these damages at the top do not mar the overall impression of the beads' strikingly beautiful bodies. The beads could be adorned with gold caps at the top, enabling them to radiate even more resplendently than in their original form, thereby enhancing their Kintsugi score.


BB 2 -  33 * 10,5 mm


BB 3 - 38 * 9 mm


BB 4 -  31 * 12 mm


Don't be satisfied with stories, how things have gone with others.
Unfold your own myth.


Are we not ourselves full of cracks trusting life to remake us in a golden remake?


BB 5 -  36 * 13 mm


BB 6 - 36 * 11  mm


BB 7 - 35 * 14   mm


Indeed, we are all like beads, riddled with cracks and imperfections as a result of the vicissitudes of life. Yet, it's through these cracks and imperfections that we trust life to transform us, to mend us with metaphorical gold, making us stronger, more resilient, and even more beautiful in our imperfection. In essence, each of us is on a continuous journey of personal Kintsugi.


BB  8 - 39  * 11,5  mm


BB 9 - 41 * 10 mm


BB 10 - 40 * 8  mm



Dance, when you're broken open. Dance, if you've torn the bandage off.
Dance in the middle of the fighting. Dance in your blood.
Dance when you're perfectly free.


BB 11 -  36 * 14 mm



By this point, the message should be clear: from my Western meta-modern perspective, a bead does not need to be flawless to be captivating. In fact, I often find myself more enamored with a scarred bead than a perfect one.
The Lens of the West
I view beads through a Western lens. Unlike a professional, my Western gaze may not be trained to distinguish a genuine bead from a fake within seconds. However, this lens might be more unspoiled and naive, potentially allowing it to appreciate aspects that a professionally trained eye may overlook.
Could it be possible that the proverbial "Emperor of Asian Beads" is in fact naked? Are all our judgments and preferences merely protective garments shielding us from the harsh reality of impermanence? As I see it, our perspectives are made from the stuff of dreams, appearing real only within an echo chamber that creates a socially constructed, intersubjective reality.

I am acquainted with an Austrian bead collector who refuses to buy perfect beads. Why? Because his father was an archaeologist. To him, perfection in beads is an aberration.


If your view of beads is primarily as an investment, similar to "bit-beadcoins," it's inevitable that your perspective will be narrow. This category of Asian collectors, generally speaking, lacks a grounding in historical and archaeological knowledge. In many ways, they resemble the modern ultra-wealthy collector of contemporary art. For these individuals, provenance often plays an increasingly vital role because they have minimal interest or knowledge about the actual art piece they're acquiring; it's viewed merely as an investment.

But let's return to the realm of ancient beads. I don't claim to be an expert. I also appreciate nearly perfect beads. However, imperfections and scars are secondary factors in my selection process. If a bead boasts captivating colors, symmetries, forms, and shapes, I prioritize these characteristics above all else.
When I study the patterns within a bead, I perceive sacred geometry. These humble beads never attended university. Their creators were not literate either. Yet, the patterns abide by universal laws of mathematics and geometry.

Thus, the ancient bead serves as a reminder that the world isn't solely dictated by mindless chaos. The chaos is as intelligent as the cosmos itself; it's simply a form of intelligence we have yet to fully comprehend.


The pursuit of absolute perfection can often be perilous, especially when it becomes collectively ingrained in political thought. It mirrors a totalitarian mindset. On a personal level, too, the quest for perfection often proves unhealthy. I imagine some of you, dear readers, have had similar reflections on this matter. I view the aged, scarred bead as a fitting metaphor for my own self. Despite my age and scars, there remains in me a steadfast belief in Kalos Kai Agathos, the beautiful, good, and just.

Please don't misunderstand me. I cherish perfect beads as well, but only when they form an integral part of a mosaic made up of perfectly imperfect beads.


BB 12 -  31 * 21 * 8 mm

In all chaos there is a cosmos,
in all disorder a secret order.
C. G. Jung


Dragon Marks or Mandalas: Symbols of Transformation

The intriguing circular markings, frequently observed on ancient beads, are likely the result of rapid temperature fluctuations acting upon the stone material. These weathering imprints, or dragon mark circles as they are poetically referred to in the realm of DZI, seem to effortlessly craft a captivating tableau when juxtaposed with the exceptionally thin, parallel, multicolored layers of the bead.
The term "dragon marks" itself invites the weaving of tales, stirring up the imagination with evocative imagery. Yet, it also invites one to delve deeper, to consider the symbolic implications. Drawing upon the profound work of Carl Gustav Jung, I propose another interpretation: seeing these circles as
In Jungian psychology, mandalas are symbolic representations of the self in its entirety, embodying the concept of harmony and wholeness. They are the psychic manifestation of the individual's striving for unity, both within oneself and with the greater cosmos. So perhaps, these natural patterns, these dragon marks or mandalas on the beads, could symbolize a primal, universal yearning for integration and completeness, for balancing the dualities that dwell within us and in the world around us. This reading could add another layer of meaning, a psychological and spiritual dimension, to the aesthetic and material aspects of ancient bead art.


BB 13 -  31 *  20 * 7,5 mm

Forget safety. Live where you fear to live.
Destroy your reputation.
Be notorious.


Let me weave for you a tale
This tale will carry us on a voyage of imagination back to the birthplace of civilization. Let us first explore the weathered Indus Valley bead you saw bove.

It bears the marks of extensive use and the passage of time. Now, let's trace the delicate, irregular lines of varying thickness that run through its surface and deep within. Observing these marks of age and use, it's not hard to grasp a self-evident truth: this ancient artifact is older than any of us. It carries a rich history that stretches back 5,000 years. However, this history is only sparked into life - or perhaps more accurately, called forth - when it encounters an observer. In my consciousness, each tiny crack unfurls a narrative, a chapter of its past.

Perhaps the bead gained one of its wrinkles from tumbling off a worn-out string. Other cracks might have formed during a millennium spent under the relentless pressure of the soil. Yet another line could be the result of rapid temperature shifts – from the frosty chill on an Afghan mountain slope one day, to the blazing sun the next. Other fractures developed over centuries due to varying kinds of micro pressure. Maybe the bead was part of a string where the beads jostled each other or rubbed against the spacers that separated them. Interactions with soil, air, skin, clothing, and perhaps even a decomposing body in a grave left their indelible mark in the form of lines, patina, and calcification. Some of the more recent cracks may have been inflicted by a digger's shovel, and later, when this bead met other ancient beads in the pocket of the person who unearthed them. Then they ended up in a box in Bangkok, where I excitedly rummaged through them, causing them to collide once more.


BB 14 -  30 * 17 mm

Sell your cleverness and buy bewilderment.



The Prequel to the Tale
The agate stone with its swirling motifs is essentially birthed in the heart of volcanoes. The spiraling, curling, and circular patterns found in this ancient Indus bead convey a tale of volcanic drama that precedes the bead's existence. The crystalline scar to the right was a part of the stone even before it was shaped into a bead, most likely formed in the seething cauldron of molten rock that was its birthplace. Why did the craftsman decide to incorporate this apparent imperfection into the design of the bead? It's possible that it was initially hidden beneath a thin layer of agate, only revealed after a millennium of usage wore it down.
This instance reflects the raw, authentic beauty of the material used, baring its raw history and ancient origins. The craftsman, rather than discarding or disguising these perceived 'flaws,' may have acknowledged and embraced them as part of the bead's innate character. This would be akin to the Japanese philosophy of Wabi Sabi, which appreciates the beauty of imperfection and sees value in the naturally occurring marks of time. It's an integral part of the bead's narrative, enhancing rather than detracting from its visual appeal and historical significance. This scar is not merely a defect but a silent witness to the bead's geological history, adding further depth to its tale.


BB 15 -  30 * 18 * 15 mm

Where there is ruin, there is hope for a treasure.


Featured above is a remarkable agate bead, a splendid testament to the intense theatrics of a fiery volcanic birth. Its textured surface imparts an additional dimension to the intricate patterns, enhancing the bead's compelling depth and character.


BB 16 -  23 * 10 mm

Beauty surrounds us.


The cinnabar spots in the center of the eye are within the Tibetan tradition referred to as blood spots. When it comes to DZI-beads these blood spots are highly priced.


BB 17 -  21,5 * 11 mm

Suffering is a gift. In it is hidden mercy.


This greenish broken beauty looks like a cat-eye.


VBB  18 -  22 * 88 mm

You have to keep breaking your heart until it opens.



BB 19 -  24 * 10 mm

What hurts you, blesses you.
Darkness is your candle.



BB 20 - 17/18 mm

Don’t grieve. Anything you lose
comes round in another form.


The spherical bead showcased above is evocative of celestial bodies within a solar system.

Take note of the intriguing color and pattern variations - the iron-red agate presents gentle, rounded motifs while the black portion is characterized by striking white lines with crisp delineations. Undeniably, this bead stands as a magnificent example of natural artistry.

BB 21 -  28,5 * 13 * 11,5 mm

When you go through a hard period,
When everything seems to oppose you,
... When you feel you cannot even bear one more minute,
Because it is the time and place that the course will divert!




Use a loupe to discover the hidden micro world of ancient beads!

I highly recommend that anyone fortunate enough to possess a truly remarkable and ancient bead should invest in a quality loupe. This tool will allow you to delve into the bead's microcosm, unveiling extraordinary patterns and hues previously concealed from routine observation. Beads can bear striking resemblance to miniature artworks, and a loupe allows you to fully appreciate this minute grandeur.



Click here for a super close up

BB 22 - 15 * 9 mm

The cure for pain is in the pain.




As illustrated above, a pattern doesn't have to be symmetrical to evoke a sense of the sublime. I am imperfect, and consequently, I find it challenging to see my reflection in a flawless bead. When there is an intuitive harmony between my flaws and the bead's imperfections, I find it easier to let the bead's scars mend my own - not in the sense that these blemishes vanish. Quite the opposite, actually: the convergence of our flaws becomes an existential embrace of a meta-modern Wabi-Sabi. In this understanding, I acknowledge that it's my very scars that render me beautiful and alive. They bestow upon me a unique identity and vivacity, making me a distinct individual human being. Indeed, my scars define me, and I am all the better for them.

BB 23 - 33,5 * 16 * 14,5 mm

Start a huge, foolish project, like Noah…
it makes absolutely no difference what people think of you.


Embrace your Scars!
In many respects, serves as a meta-modern therapeutic space! It offers tools for those unique individuals who have discovered the enormous potential in fostering gratitude for the so-called 'negative' events in their lives. As C.G. Jung sagely pointed out years ago, we grow by bringing our darkness into consciousness. This means acknowledging and embracing our imperfections, our scars, as these are integral parts of our journey. They shape us, refine us, and ultimately add to our overall beauty, much like the beads we so admire. They are reminders of our resilience, our strength, and our capacity for growth. So let's be grateful for our scars, for they have made us who we are today.




Scars indeed come with age. Much like humans, beads acquire wrinkles over time. As an observable fact, older beads tend to exhibit more cracks than younger ones, an embodiment of how the passage of time leaves its mark on us and our cherished objects.

Due to their age, a large number of Indus beads bear these signs of time, embodying a certain charming vulnerability. The elongated bicone Indus beads, in particular, are more susceptible to the ravages of time. This vulnerability results from a combination of factors including their age, length, and the nature of their holes.

Being around 4000 years old, it is only natural for these beads to show signs of wear and tear. These specimens, however, are uniquely long and slender. This physical attribute, combined with their unusually large holes, renders them especially fragile, as demonstrated in the image below. The stone becomes thin at the ends, which makes these beads prone to fractures. Many elongated bicone Indus beads share the same fate, looking similar to the bead displayed below.
In spite of their cracks and chips, these beads hold an indisputable allure. Their imperfections not only narrate tales of their past, but also accentuate their unique beauty, thus making them valuable pieces of ancient artistry.

In these four Indus beads, the holes almost occupy a greater volume than the actual stone material itself. Remarkably, even in ancient times, these slender beads were held in such high esteem that efforts were made to repair them when they fractured. This process often involved cutting off the damaged end. An example of such a repair can be observed in the bead displayed below, where ancient patina or earth coloring is visible on the surface of the repair.
This ancient practice of repair bears a testimony to the value and significance these beads held in their societies. Despite their fragility and the damages they sustained, these beads were preserved and mended, adding yet another layer to their historical and aesthetic richness. In fact, their very imperfections and the marks of their restoration contribute profoundly to their allure, making each bead a unique artifact of human ingenuity and appreciation for beauty.



BB 24 - 65,5 * 13 * 9 mm


That is indeed fascinating. This bead, which is almost 4000 years old from the Indus civilization, was repaired around 2000 years ago. The 'skin', or patina on the flattened middle of the bead differs from the skin on the rest of the bead. Although it's not evident in the photo, when observed closely, the flattened middle part of the bead exhibits a different patina, more akin to the shine associated with Mauryan-era artifacts.
This suggests that the bead was likely repaired during the Mauryan period, adding another layer of history to this artifact. Such a revelation points to the continued value and importance of these beads across different periods and societies, further demonstrating their role as not just objects of adornment, but as bearers of cultural and historical narratives.




  BB 25 - 35 * 9,5 mm


Indeed, the presence of a subtle red light at the center of the bead's eye is captivating. It's possible that the clear red light could be a reflection from minuscule precious stones embedded within the agate itself, as it's not uncommon to find gemstones such as rubies within agate formations. Click on the image for a larger view to appreciate this interesting feature.

Additionally, observe the fine, multi-colored layers present within the brown parts of the bead. These elegant, thin lines exhibit the remarkable craftsmanship and unique natural formation of the agate, giving the bead its intricate and charming aesthetic. It's details like these that truly make each ancient bead a work of art and a testament to the sophisticated beadwork of civilizations past.



BB 26  - (EIV 38)  - 62 * 14 mm


The bead depicted above, despite being broken into two halves and subsequently reassembled, showcases a seamless repair job so skillfully executed that it's almost imperceptible. The bead is like a vibrant canvas of myriad shades of green, creating a palpable sense of lush vitality. It emanates an organic, plant-like aura, rendering it reminiscent of a verdant grove. The unique blend of colors and the expert restoration work underscore the inherent, enduring beauty of the bead, a testament to the incredible resilience and adaptable nature of these fascinating ancient artifacts.



BB 27  - 28,5 * 8 mm


Calcificated Indus Beads


BB 28  - (EIV 26) - 53 * 14,5 mm


A significant number of Indus beads, like those illustrated above and below, are entirely encased in calcification. This is likely attributable to the fact that the Indus culture practiced burial rituals, and over time, the beads became calcified as a result of the decomposing body.

Memento Mori
In a way, these beads serve as profound symbols of mortality. Their narrative is not for those easily unsettled, but rather for those unafraid of time's passage and inevitable changes, or for those wishing to contemplate this inescapable truth. As the ancient Romans cautioned, "Memento mori": Remember that you are mortal.
This acceptance of mortality continues to resonate in present-day India, where Sadhus, or holy men, often choose graveyards and cremation grounds as their preferred locations for spiritual practices. There's a deeply ingrained understanding of the transience of life, a sentiment echoed in these ancient, calcified beads.



BB 29 -  26 * 23 * 7 mm


Embracing the Perfect Destruction
Our intrinsic yearning for order, deeply embedded in our consciousness, encompasses the chaos of Shiva within spiritual practices. Shiva, the Hindu god of destruction, is often feared for the perceived disorder and dissolution he represents. Yet, without fully embracing this concept, we lose the cosmic perspective that Shiva offers. His destruction is not an end in itself, but a necessary precursor for creating the order of the future. It's the unseen side of the coin - Shiva's disruption and dissolution serve as the fertile ground from which new life can spring. Thus, Shiva is also revered as the God of fertility.
In this sense, everything - including these broken, calcified beads - embodies the essence of being perfectly imperfect. It's a testament to the beauty found in the cycle of creation and destruction, a universal dance where endings spark new beginnings, and decay nourishes growth. It's a reminder to appreciate not only the pristine and unblemished, but also the worn and fractured, for in their imperfections, they reflect the profound truth of our existence.



Top to bottom

BB 30 - EIV 88  - 42 * 15 mm


The captivating, bluish calcified bead displayed above boasts a unique shape. It seems as though the bead maker worked in harmony with the intrinsic patterns within the stone. One can surmise that they meticulously examined the motifs within the stone before deciding on the shape the bead would take. Adding to this uniqueness, the holes are not conventionally drilled horizontally from one end to the other, rather they have been bored from the backside to the end. Consequently, the front-facing design remains undisturbed by perforations. Such an approach to drilling was likely chosen for its practicality, as it significantly reduces the effort and time involved. This thoughtful approach underscores the remarkable craftsmanship and detailed consideration that were inherent in the creation of such pieces in ancient times.


BB 31 -  EIV 30  - 34 * 7 mm


It is interesting to observe how the Indus bead above and the three below all display eye formations that have become more distinct due to the calcification process.



BB 32 - EIV 30  - 34 * 7 mm


These calcified Indus beads have super large holes and hence they are very fragile at the end points.



BB 33 - EIV  31 - 33 * 9,5 mm

The bead above and several of the ones below have been repaired by cutting of some part off the ends.



BB 34 - EIV 118 - 22 * 8,5 mm




 BB 35 - 32 * 8 mm




BB 36 - (EIV 20) - 44 * 12 mm





BB 37 -





BB 38 - EIV  34 - 24 * 8 mm




BB 39 - EIV 43  - 45 * 19 mm


At first sight, one might perceive the bead above as somewhat unappealing if not for the strikingly rich, red-brown jasper hue it boasts. Yet, the allure of this piece lies in its time-worn, scarred surface, as if marked by the artistry of time itself. It stands akin to a sculpture, carved not by the hands of a mortal artisan, but shaped and engraved by the relentless flow of time. The tactile record etched into the surface of the bead bears a story that can awaken meaning within its observer. Now, as you assume the role of this observer, I put forth a question for your contemplation: Are these etchings, these signatures of time, merely the product of randomness or do they bear a more purposeful intent?



BB 40 - EIV 54 - 35 * 11,5 mm


Here we can enjoy two banded jasper Indus beads. Note that the swirling in jasper often is more abrupt and irregular than in agate.




BB 41 - EIV 55 - 31 * 11 mm




BB 42 - EIV 83 - 22 * 16,5 * 7 mm


Agate with such intense red color and with white contrast bands is rare. That is most probably why in ancient times, the lovers of beads found it worthwhile to repair it at the endpoints.








Contact: Gunnar Muhlman -