Prehistoric Amber Ornaments from the Żuławy Wiślane, Northern Poland: A Raw Material Perspective
Because of its beauty and unique properties, amber has fascinated people for thousands of years. With the holiday season now officially underway and many of us likely to spend at least a moment on the marine coast, today’s article focuses on the role amber played among communities living in the particular area of northern Poland during the Late Neolithic period. We will explore how its selection – based on colour, transparency, and structure – reflected the aesthetic and technological preferences of prehistoric craftspeople and users. These observations will then be compared with contemporary Polish trends in jewellery, aiming to highlight some subtle analogies between the past and the present. Join us on this fascinating journey through time, aesthetics, and technique, which proves that the choice of amber was never accidental. The inspiration for this article comes from recent research on some of the products from an amber workshop that existed around 4,500 years ago in the Żuławy Wiślane region, published by researchers from the Faculty of Archaeology at the University of Warsaw and the Museum of Earth in Warsaw Polish Academy of Sciences, in the journal Praehistorische Zeitschrift.
Amber Fever
Amber, often referred to as the “gold of the North,” is a unique and highly valued material that has been appreciated since prehistoric times. Its warm colour, ease of processing, and lustre ensure that interest in its use remains strong, whether for jewellery, consumption, or health-related purposes. In stores, galleries, stalls, and museums – not just those along the Polish marine coast – one can find a truly vast range of amber products, from necklaces, earrings, and bracelets to boxes, cutlery, icons, creams, shampoos, soaps, toys, and even liqueurs made from amber. But what exactly is amber?
Amber is a fossilised tree resin formed under oxygen-free conditions, primarily in marine and coastal sediments. Over 300 types of fossilised tree resins are known globally, all commonly referred to as amber. Some have distinct mineralogical names, such as cedarite, gedanite, and stantienite. However, the most famous of them all is Baltic amber, scientifically known as succinite.
The Precious Succinite
Succinite is not only the earliest and most thoroughly studied type of amber, but also the most highly prized – both for its aesthetic appeal and its supposed health benefits. It contains a high amount of succinic acid (3-8%), which is currently regarded as a natural antioxidant that supports metabolism and immune system function. Succinite is not uniform – it exists in many variations, further divided into three categories based on its impurities, structure, and weathering. As such, it can be found in a full spectrum of colours – from bone white, through shades of yellow, to deep red – and in variations ranging from completely transparent to entirely opaque.
Amber in Prehistory
The earliest evidence of interest in amber dates back to the Late Paleolithic, over 12,000 years ago. However, its mass use began much later – in the Neolithic, with the peak period of amber interest occurring in the 3rd millennium BC, when specialized workshops began to emerge across Europe. Over time, the significance of amber only grew. It became widely known and highly valued in Mycenaean, Etruscan, and Roman cultures. Moreover, the so-called Amber Road became one of the most important prehistoric trade routes, linking Barbaricum with Mediterranean civilizations.
Secrets of the Amber Craftspeople from the Żuławy Wiślane
Among archaeological sites with amber finds, the Baltic coastal amber workshops from the Late Neolithic period stand out as a global phenomenon, likely representing not only the oldest but also the largest known examples in the world to date. These workshops associated with the so-called Rzucewo culture operated between approximately 2600 and 2000 BC in what is now the Żuławy Wiślane region. Evidence of their existence is now found in the thousands of remnants from the amber processing discovered to date: raw amber nodules showing signs of working, numerous production waste materials, unfinished semi-finished products, and incomplete or discarded specimens. Interestingly, there is a clear absence of finished ornaments among the workshop finds! This raises the question: what has happened to such items? The answer, however, is not so obvious…
It is well known that the best archaeological finds are those that are not only scientifically valuable but also highly media-friendly, such as the so-called “treasures”. However, life is not a fairy tale, and sometimes we simply have to make do with exactly what is available, and, well… it is not always something terribly exciting. This issue also applies to amber artifacts…
On one hand, archaeologists discover in graves numerous greatly manufactured finished ornaments – one might say: “real treasures!” But then, after noticing the high degree of weathering, they quickly change their minds, as the artefacts are not quite as spectacular as they might have been with their original surfaces intact… On the other hand, they found materials in specific amber workshops, where surprisingly there are no final products. Who knows, perhaps finished jewellery have already made their way to buyers? Instead, there are thousands of artefacts described using scientific terminology that, in a broader perspective, carries a rather negative connotation: production waste, incomplete or discarded specimens, debris, etc.
It is important to emphasize, however, that such materials are truly valuable! They are a real scientific trove of information about the entire amber production process – from the nodule to the nearly finished product. It is like peering behind the scenes of prehistoric craft, which 1) allows us to explore the entire thought process undertaken by the maker; 2) enables us to determine the aesthetic preferences of both the makers and users; and, finally, 3) provides direct insight into what was once considered beautiful, fashionable, and valuable for various reasons.
Yet this issue is far from simple… As mentioned earlier, amber weathers over time – that is, it undergoes natural degradation – which can significantly alter its appearance. The same applies to conservation methods such as waxing or resin coating, which can also result in a complete alteration of the original surface. Therefore, the most valuable information comes from well-preserved raw material – ideally from a moist, anaerobic environment. Fortunately, this is the case with the Late Neolithic amber workshops from the Żuławy Wiślane region. However, studying such materials still requires the application of a strict methodology based on detailed classification. After all, how can we tell which raw materials amber ornament makers preferred, when there are no finished pieces, only thousands of items labelled as “waste”?
The answer is simple: based on the analysis of incomplete forms – damaged, unfinished and/or discarded usually in the final stages of “production” – which could have been used, if only they weren’t… [damaged]. And in this case, it is precisely that “if only they weren’t” which speaks to us the most, especially in terms of theoretical studies.
Archaeologists from the University of Warsaw’s Faculty of Archaeology and the Museum of the Earth, Polish Academy of Sciences, examined 1,024 unfinished amber pieces from a Żuławy workshop. Of these, 483 (beads and pendants) were damaged during drilling – the most demanding stage of ornament production.
Studies have shown that, in past ornament production, there was a preference for material with a uniform structure, in shades of yellow, mostly opaque, and mixed with a distinct, though small, amount of transparent material. During the production process, amber that could hinder the achievement of the desired effect was excluded. On the one hand, layered, cracked, or porous amber – seen as “defective” – was avoided; on the other, particular varieties prized for colour and clarity were preferred, as white or red amber artefacts remain exceptionally rare. The former, resembling ivory, likely had symbolic significance and may have been an imitation of prestigious objects associated with the so-called Bell Beaker culture. Red amber, which is very rare in natural amber deposits as it is already a form altered by weathering, was, on the other hand, often the result of intentional practices. Among these we can mention the clarifying treatment (heating the raw material to change its colour and transparency), which is one of the oldest known jewellery techniques in the world. Interestingly, it was already mentioned in ancient Mediterranean sources.
Although millennia have passed since the prehistoric amber workshops operated in the Żuławy Wiślane region, human fascination with amber remains undiminished. However, tastes, technologies, and cultural context have changed, shaping the amber jewellery market today in an entirely new way.
Colour Matters
The most recognizable and, at the same time, most desirable amber colour today is the classic honey – a warm, golden hue that evokes nature, sunshine, and holidays. It is this colour that reigns supreme in classic jewellery, most often set in silver and gold. Red amber – a deep, almost cherry-like shade – also enjoys great popularity. It is exceptionally rare in nature, which is why it is usually obtained through the aforementioned clarifying process. The result? The stone gains depth and intensity, making it a perfect complement to modern designs and a striking feature in many creations. White amber, once overlooked for its aesthetic value, is coming back into fashion. Its milky, “ivory” colour and velvety texture make it a popular choice in custom-made jewellery projects – especially when combined with wood, cords, gold, ceramics, or synthetic materials.
Transparency and Clarity
Interestingly, contemporary customers – despite all the beautiful colours available – are often simply looking for amber with a clear structure. What drives this preference? Is it related to the inner “life” of the resin — the air bubbles or inclusions — or perhaps to the modern popularity of transparent amber? It is hard to say. What is certain, however, is that while transparency held little appeal for Neolithic amber craftspeople and their “clients”,today it is not only highly valued, but often plays a decisive role in the purchasing process.
Form and Style
Whereas until recently amber was almost exclusively associated with folk jewellery, “grandmother’s” necklaces, or souvenirs from Baltic seaside resorts, today it is making a comeback in a new role. Contemporary designers are once again turning their attention to classic and always elegant amber, but with a fresh vision. Where will these experiments – situated at the intersection of craftsmanship and artistry – take us? No one can say for sure. But one thing is certain: amber is entering a new era of aesthetic preferences. Perhaps future archaeologists will find these preferences interesting?
Amber, in addition to its aesthetic and health benefits, has one more, much less obvious characteristic: it can be quite problematic. With its growing popularity, the scale of abuses has also increased, affecting both the origin and authenticity of this material. As a result, amber has become a victim of its own success – frequently mined illegally, with harmful methods and no proper permits or oversight. It is also increasingly being chemically or thermally modified. While some of these techniques – such as clarification – have a long tradition, many modern methods alter the structure of the raw material so extensively that it is difficult to speak of its authenticity. The market is also flooded with synthetic fakes, made from artificial resins or younger fossil resins. They are often crafted so well that without specialist analysis, it is difficult to tell them apart. The problem intensifies, especially in tourist areas, where buyers receive a “plastic illusion” instead of a souvenir from the seaside… It is therefore important to raise awareness about the origin, processing methods, and composition of amber. Not only does this protect against fraud, but it also supports the sustainable development of the amber market. After all, amber deserves to be a symbol not only of beauty but also of honesty. So, dear holidaymakers, let’s pay attention to certifications!
Conclusions
Amber today is a raw material of immense diversity, both aesthetically and culturally. It can be found in museums and luxury boutiques, at craft fairs, in haute couture designs, and in local workshops. While trends may change, one thing remains constant. Amber continues to captivate with its natural beauty and unique character. Contemporary choices made by jewellers and customers alike show that, just as in prehistory, the type of amber still truly matters.
Taking this moment of reflection, we wish all our readers a safe, enriching, and beautifully inspiring holiday. And for the true Baltic amber lovers out there! May the shores favour you, revealing their hidden treasures.
Until next time!
PS: Among contemporary users of amber, the belief in its healing properties remains strong. Various types of amber-based remedies, such as oils, balms, incense, amber teething rings for infants to ease teething pain, “anti-stress” bracelets, or pendants believed to support immunity continue to enjoy unwavering popularity. Although it may seem like an echo of ancient beliefs, it could also be something more, as recent studies on the health benefits of succinic acid are providing a solid scientific foundation for their real effectiveness. Therefore, there is a chance that when purchasing amber products or those made from it, you might truly experience its “magical” power. So… be careful!
Based on:
Manasterski, Dariusz, Kwiatkowska, Katarzyna, Januszek, Katarzyna and Cetwińska, Aleksandra. “Raw material preferences within ornament production in the Late Neolithic amber workshops of Żuławy Wiślane in Northern Poland” Praehistorische Zeitschrift, 2025. https://doi.org/10.1515/pz-2025-2015
Authors: Aleksandra Cetwińska, Dariusz Manasterski, Katarzyna Kwiatkowska, Katarzyna Januszek
