21.9.14

Todo pupilas




"La Naturaleza ha querido que los ojos sean las ventanas a través de las que se observan nuestras almas; ¿y seremos capaces de quejarnos porque el corazón del hombre no tenga ventanas?"
—Pomponio Gaurico, "Sobre los ojos", 1504.[1]

Ojos negros

"Así, dice Adamancio, aquel que veas con los ojos negros y un poco arqueados, podrás juzgar que es fuerte y valiente, como el león".[2]

Ochi Chernye
Evgeny Grebenka, Ojos Negros, Ucrania, 1843



Ojos negros, ojos apasionados
Ojos ardientes, hermosos
Cómo os quiero, cómo os temo
Tal vez os conocí en un momento maldito
Oh, por algo sois más oscuros que lo profundo del mar
Veo en vosotros el duelo por mi alma
Veo en vosotros una llama de victoria
Consumido en ella, un pobre corazón
Pero no estoy triste, no estoy triste
Encuentro consuelo en mi destino:
Todo, lo mejor que en la vida Dios nos ha dado
Os lo sacrifico, ojos de fuego




Notas
1. Pomponio Gaurico, Sobre la escultura (Florencia, 1504), Madrid: Akal, 1989, p. 165 y n. 25. Gaurico formula esta noción a partir de Lactancio, De opificio Dei, 8, 11 y 9, 2; con todo, la metáfora habitual en los tratados de fisiognomía es la de la puerta (André Chastel y Robert Klein).
2. Gaurico, Sobre la escultura, p. 167.




Investigación de Mariano Akerman
• Ecclesia et Synagoga
• Las alegorías teológicas y sus atributos
• La llave del enigma
• El Prado desaforado
• Venda y ojos cubiertos
• Cantar de los Cantares
• Blindfold Collection
• Venda y ojos cubiertos
• Monumento al Sagrado Corazón de Jesús
• Patrimonio e Identidad




• Research


La academia rodante

15.9.14

Venda y ojos cubiertos

por Mariano Akerman

En la cultura occidental, la venda es un signo cuyo valor no es estable ni totalmente unívoco, sino que suele variar en función del tiempo y el contexto al que pertenece una determinada imagen.

Los ojos bien cubiertos, fotografía, 1950

Los ojos cubiertos por una venda son a menudo interpretados como indicadores de ceguera. Mas no toda venda que cubre los ojos de una figura necesariamente implica cegera: tener los ojos cubiertos significa en principio no poder ver (acaso temporariamente) y no por ello es un equivalente automático de estar ciego (de por vida).

A partir de su uso a lo largo de la historia, la venda que cubre los ojos de una figura puede ser un indicador de que la condición de la misma es aquella de una víctima, quien es abusada o ejecutada. Durante el Escarnio del Cristo, sus ojos están cubiertos por una venda. Frecuentemente la víctima que es o se encuentra a punto de ser ejecutada presentan sobre sus ojos una venda.

Escarnio del Cristo

Fra Angélico, Cristo burlado, fresco, 1439-43. Detalle


Matthias Grünewald, El escarnio del Cristo, óleo, 1503-5. Detalle

Ejecución

Fra Angelico, Martirio y decapitación de los santos Cosme y Damián, 1438-40

Francisco de Goya, Los desastres de la guerra, No. 15: "Ya no ai remedio".

Alegorías de origen grecorromano

Alegoría de la Justicia

Justitia

Alegoría del Amor


Cupido. Sandro Botticelli, Alegoría de la Primavera, óleo, c. 1482. Detalle

Alegoría de la Suerte y el Azar

Fortuna. Henri Brauer, Detalle de acción de 100 dracmas.
Banco de Grecia, París, 1898-1930

Alegoría de la Fe católica

Felipe V de España y Alegoría de la Fe


Mariano Benlliure, Alegoría de la Fe, mármol decimonónico. Catedral de Cuenca

Referencias de contexto y trasfondo general

Fra Angélico
La burla del Cristo, con la Virgen y Santo Domingo, fresco, 1439-43.
Convento de San Marcos, Florencia


Grünewald, El escarnio del Cristo, 1503-5. Alte Pinakothek, Múnich

Fra Angelico, Martirio y decapitación de los santos Cosme y Damián, 1438-40. Panel del Altar de San Marcos. Musée du Louvre, París


Cupido. Botticelli, Alegoría de la Primavera, detalle, c. 1482. Galleria degli Uffizi, Florencia


Piero della Francesca, Cupido, fresco, c. 1460. Detalle. Basilica de San Francisco, Arezzo


Cupido, porcelana rococó, siglo XVIII


Henri Brauer, Acción de 100 dracms share, Banque d'Athènes, París, 1898-1930.

Brauer, Alegoría de la Fortuna, 1898.

Fortuna. Bronce decimonónico


Bruegel el Viejo, Las siete virtudes: Fe (Fides), grabado, 1559. Representada en el marco de una iglesia y junto a la tumba de Jesucristo, la alegoría de la Fe presenta como atributos las Tablas de la Ley y el Evangelio, simbolizando respectivamente el Antiguo Testamento y el Nuevo Testamento.


Alegoría del imperio español luchando contra la herejía. Obra conocida como "El triunfo de la España católica sobre la herejía". El Escorial

Alegoría de la Fe. "Este curioso lienzo [...], que se encuentra en el Palacio Real de Aranjuez, es obra de un tal Felipe de Silva y [...] probablemente [esté] fechado hacia 1712. Su valor artístico es ciertamente escaso pero su análisis iconográfico resulta de lo más interesante. El título completo es El rey Felipe V de España, la reina María Luisa Gabriela de Saboya y el príncipe Luis niño matando al dragón de la herejía delante del monasterio de El Escorial.
[...D]esde la izquierda, aparecen el rey Felipe V, una figura femenina portando un cáliz, un dragón envuelto en llamas, el pequeño príncipe y su madre la reina María Luisa. El rey va vestido según la moda de la realeza francesa, con casaca roja ribeteada de oro, banda azul, pañuelo anudado al cuello y amplia peluca, lo que hace referencia a su origen como Duque de Anjou antes de haber sido elegido heredero de la corona de España. Felipe está pinchando con una espada al dragón, mientras señala con una mano el cáliz que trae la mujer situada a su espalda. Esta figura es una alegoría de la Fe, que se muestra con sus atributos característicos: una venda en los ojos (la Fe es ciega) y un cáliz del que asoma una hostia consagrada, alusiva al misterio de la Eucaristía. En el centro se encuentra el dragón, que desde tiempos medievales se utiliza como una representación de lo demoniaco. En este caso su significado es aún más evidente porque está pisoteando cálices, crucifijos y otros elementos de la religión católica mientras se consume entre llamas. A continuación aparece el príncipe Luis I aproximadamente a la edad de cinco años; viene ataviado con un manto de armiño, un bastón de mando y la orden del Toison de Oro, en clara referencia a su papel como futuro sucesor del trono de España. El príncipe imita a su padre en la actitud de pinchar al dragón y aparece protegido por su madre la reina María Luisa, que apoya los brazos sobre sus hombros. El fondo de la escena es un paisaje montañoso en el que destaca, en mitad de toda la composición, el monasterio de El Escorial, por encima del cual asoma un sol naciente que parece coronar la cúpula principal. [...] El mensaje del cuadro puede resumirse de la siguiente forma. La nueva dinastía Borbón, de origen francés, que heredó el trono de España tras la muerte del último rey Habsburgo, Carlos II, se presenta como defensora de la verdadera fe católica, dando muerte al dragón de la herejía. Esta responsabilidad, identificativa de los Habsburgo, es igualmente asumida por los dos primeros Borbones, Felipe V y Luis I, y es llevada a cabo delante del monasterio de El Escorial, que es por encima de todo el panteón real de la monarquía española. Se pretende así legitimar la transición de una dinastía a otra, tanto desde el punto de vista religioso como sucesorio y político.
Se trata, pues, de una obra de propaganda política, que sirve para justificar la idoneidad de la sucesión borbónica en el trono de España. Tiene lógica, además, que la fecha del cuadro se cifre en torno a 1712, cuando la última fase de la Guerra de Sucesión llegaba a su fin y Felipe de Anjou ganaba enteros para su definitiva coronación. El conflicto había enfrentado a los Borbones de España y Francia contra la Gran Alianza formada por Inglaterra, Holanda y Austria, que quisieron proponer un candidato alternativo al trono español para mantener el equilibrio de poder en Europa. El cuadro enfatiza el papel de Felipe de Anjou como defensor de la religión católica frente a la herejía protestante, encarnada aquí por el dragón, pero en última instancia alusiva a las potencias protestantes que lucharon contra España. Que Felipe V dé muerte al dragón en un escenario con semajante carga simbólica significa que ha vencido en la Guerra de Sucesión y está legitimado para gobernar" (Josué Llull, Felipe V matando la herejía ante El Escorial, Arte e Iconografía, 14.7.2011).

Fede Christiana Cattolica


Alegorías de la Fe Cristiana Católica
Composición digital a partir de imágenes provistas por Internet, 15.9.2014
Datos, fuentes y créditos
1. Imagen atribuida a Andrés Cordón, siglo XIX. Cofradía de la Santa Fe, Nuestro Padre Jesús en el Sagrado Lavatorio y Nuestro Padre Jesús Preso; Año de la Fe, 2012-2013 (Paseillo).
2-2a. Talla en madera policromada, por José Martín de Aldehuela, altar mayor de la Parroquia de la Santa Cruz y San Felipe Neri, Málaga (Taller Trillo y Lamas: Alegoría de la Fe, Málaga, 2011).
3. Talla de autor anónimo, España, siglo XIX. Parroquia de la Asunción, Yeste (Fernando de Navascués, Alfa y Omega: Fides, Nº 855, 2013).
4. Escultura de piedra. Iglesia de San Nicolás, Concatedral de Alicante (WKM).
5. Representación alegórica en el cortejo del Viernes Santo: joven vestida con túnica y venda en los ojos portando dos símbolos de la fe católica; Hermandad de la Soledad de Marchena (Costaleros del Calvario, Córdoba, 2011).
6. Bronce. Hospital Marqueses de Linares, Jaén (Desde el Terrao, 2014).
7. Óleo dedicado a Felipe V: "El triunfo de la España católica sobre la herejía", preservado en el Palacio Real de Aranjuez.
8. Imagen religiosa "MG 8389". Paso del Corpus Christi, Campo de Criptana (Symbolon 2013). "La Alegoría de la Fe se representa con los ojos tapados, lo que proviene de la Carta a los Hebreos: "la Fe es la certeza de lo que se espera y la convicción de lo que no se ve".
9. Imagen por Joseph Sunyer, Ermitage Notre-Dame de Font Romeu, Pirineos Orientales, Francia, 1686 (Golias Magazine, n° 127-128, octubre 2009; Michel Théron, La foi aveugle, 2011). Ver también Golias: Symbole, 29.12.2010.
10. Estatua por Pedro de Mena. Sant Mateo, Lucena (Imágenes de Lucena).
11. Pintura en pechina por José Vergara Gimeno, Capilla de la Comunión, Iglesia de San Salvador, Valencia, 1767 (Patrimonio Cultural de Burriana, 2012).
12. Escultura de anónimo genovés, siglo XVII. Catedral de Toledo (Cuadros para una exposición). Se indica que en la parte superior del cáliz puede verse una Sagrada Forma; y se agrega, la Fe, junto con la Esperanza y la Caridad, es una de las tres virtudes teologales.
13. Piedra y metal. Fachada de Azabachería, Catedral de Santiago de Compostela; Credencial del Peregrino, Año de la Fe 2012-2013 (Amigos del Camino de Toledo, 2013).
14. Mármol, por Mariano Benlliure, 1901-3. Capilla de la Asunción, Catedral de Cuenca (Javier García-Luengo Manchado: Credo).
15. Escultura de piedra. Portal exterior, Capilla del Sagrario, Iglesia parroquial de San Miguel, Málaga (Reales Cofradías Fusionadas: Cortejo de Lágrimas, Málaga, 2013).



Fede Cattolica: "Donna vestita di bianco, con l'elmo in capo, nella mano destra terrà vna candela accesa, e un cuore, e nella sinistra la tauola della legge uecchia insieme con un libro aperto" (Cesare Ripa, Iconologia overo descrittione deli imagini universali, 1599-1613; María Bernal Martín, El triunfo de san Ignacio y san Francisco Javier, España, 2005, n. 87 y fig. 15).



Veneración de Alegoría de la Santa Fe en España


Lucena y su tradición, TVE, España 1996


Jueves Santo Lucentino: La Santa Fe. La Alegoría de la Santa Fe es una imagen de Sta María Magdalena quizás de D. Andrés Cordón, s. XIX. Lleva una cruz verde realizada por el gaditano D. Pedro de Moraga en 1673. Recorrido actual: El Agua, San Pedro, Juan Valera, Coso, Plaza de Bécquer, Ballesteros, Ancha, Flores, Plaza Alta y Baja, Las Tiendas, San Francisco, Maristas, Alcaide, Las Torres, Plaza Nueva (lateral y centro), El Peso, El Agua y entrada a su templo; total: 1,9 Km.

Santería. En Lucena, municipio de Córdoba (España), se llama santería a la forma de sacar en procesión los tronos con las imágenes en Semana Santa y otras fiestas llevándolas en el hombro entre varias personas (1000-1500kg cada trono). Los horquillos, periodos de tiempo en los que el trono avanza al ritmo del tambor, están marcados por el manijero, quien indica su duración mediante un timbre que únicamente él toca. Los tronos poseen entre 24 y 28 santeros, todos varones, quienes portan el trono sobre sus hombros. En Lucena las procesiones cambian cada año de santeros. Cada año una cofradía otorga el timbre de titular a un manijero, quien se encarga de formar una cuadrilla de santeros. No se ensaya. Simplemente se hacen juntas en las que el manijero indica cómo va a ir el santo, los sitios que ocuparán los santeros, el ritmo que va a llevar el tambor, el lugar que ocupará cada santero durante la solemne procesión del trono. Durante la procesión los tamboreros preceden al trono y ejecutan un redoble que se conoce como Paso (paso procesional) o Paseíllo e incluye el torralbo (campanilla a puntual percusión sobre metál). Entre el trono y su hombro, los santeros colocan una almohadilla para amortiguar el impacto del peso del trono sobre sus cuerpos.











Recursos
Blindfold
Fides
Fides en numismática
Fides comparada con otros dioses grecolatinos
Persfides
Colección de virtudes teologales
Aparentes Tablas de la Ley con inscripciones atípicas

Investigación de Mariano Akerman
• Ecclesia et Synagoga
• Las alegorías teológicas y sus atributos
• La llave del enigma
• El Prado desaforado
• Cantar de los Cantares

20.5.14

Louis I. Kahn: Poetic Dimension to the Hurva Synagogue in Jerusalem

Appreciation a projectual 3D rendering, with the inclusion of its sources of inspiration, by Mariano Akerman

Subtle digital interpretation by Cerbella & Caponi in Florence


Magnificenza nella configurazione architettonica. Remarkable computarized graphic reconstructions of American architect Louis I. Kahn's Hurva Synagogue Project (first proposal, 1967-68). Digital animation work developed by Francesco Cerbella and Federico Caponi, University of Florence, November 2013 (Giorgio Verdiani, Seminario "Comunicare l'architettura e il design", Università degli Studi di Firenze).














Computarized graphic reconstruction of the Hurva Synagogue after Kahn (phase 1, 1967-68). Digital animation by Francesco Cerbella and Federico Caponi, University of Florence, November 2013 (Giorgio Verdiani, Seminario "Comunicare l'architettura e il design", Università degli Studi di Firenze; piano: Ludovico Einaudi - Ancora).

Abstract. "The video proposed here consists in the reconstruction of the Louis I. Kahn’s first proposal for Hurva Synagogue in Jerusalem (the project was developed between 1968 and 1974). Kahn was used to incorporate elements [reminiscent] of […] ruins into most of his architecture, in 1967 he received a commission to [design] the [then] destroyed synagogue [popularly known as the] Hurva, […] Hebrew [term that means] "ruin". For Kahn, this project presented an extraordinary opportunity to express his most deeply felt ideas about architecture. It was his chance to build [a] great Jewish monument at the religious center of the new Jewish state, in the region where the three major Western religions were born. As the world's leading Jewish architect, Kahn was conscious of the huge responsibility of this commission. In this project it is possible to find [several traits] that characterize Kahn’s architecture: a configuration of space as discrete volumes, complex ambient light and shadow, a celebration of mass and structure, the use of materials with both modernist and archaic qualities. [In this project,] Kahn also expresses his concept of wrapping ruins around buildings: "The new building should itself consist of two buildings, an outer one which would absorb the light and heat of the sun, and an inner one, giving the effect of a separate but related building…". The outer building of synagogue recalls some ancient monumental ruin, perhaps from Egypt, or even [another one] from some more [a] remote past now lost to history. The video shows […] the whole [of Kahn's] composition, [… including its] relationship with [some] ancient ruins, [… understood as sources of] inspiration for the project" (Cerbella-Caponi, Contemporary Architecture and Ancient Suggestions - The Louis Kahn's Hurva Synagogue Project, Conference on Cultural Heritage and New Technologies, CHNT 19, Vienna, November 2014).

Sources of inspiration: renderings of Kahn's project

• Francis D.K. Ching, Form, Space and Order, 1979.

Plan of the Hurva Synagogue, by Ching

• Kent Larson, "A Virtual Landmark", Progressive Architecture, September 1993, pp. 80-87

Computarized graphic section of the Hurva Synagogue, by Larson, MIT

Computarized graphic perspective, by Larson

Sources of inspiration: History of Architecture

• David Bruce Brownlee y David Gilson De Long, Louis I. Kahn: In the Realm of Architecture, Nueva York and Los Ángeles, 1991, pp. 88-89.

Plans of Kahn's Hurva Synagogue and Fergusson's rendering of Solomon's Temple; comparison by Akerman after Brownlee y De Long.

• Mariano Akerman, "The Evocative Character of Louis Kahn's Hurva Synagogue Project, 1967-1974" (1996), in: The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art, ed. Bianca Kühnel, CFJA, 1997-98, pp. 245-53.

Kanh's Hurva Synagogue model compared with the pylons of the Egyptian Temple of Horus in Edfu; compared by Akerman in 1996.

Resources

• Enciclopedia Italiana Treccani 1936: Sinagoga

• WKP: Hurva_Synagogue

• Louis Kahn, Order Is, 1960

• Kent Larson, Louis I. Kahn: Unbuilt Masterworks, 2000

• Mariano Akerman, "The Evocative Character of Louis Kahn's Hurva Synagogue Project, 1967-1974" (1996), en: The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art, ed. Bianca Kühnel, CFJA, 1997-98, pp. 245-53.

• _____. Louis I. Kahn: dimensión poética para la Sinagoga Hurva en Jerusalén

Copyright © 2013 All Rights Reserved

20.3.14

"No Grotesques in Nature"


Fibrodysplasia ossificans progressiva (FOP), sometimes referred to as Stone Man Syndrome, is an extremely rare disease of the connective tissue. A mutation of the body's repair mechanism causes fibrous tissue (including muscle, tendon, and ligament) to be ossified spontaneously or when damaged. In many cases, injuries can cause joints to become permanently frozen in place. Surgical removal of the extra bone growths has been shown to cause the body to "repair" the affected area with more bone.

FOP is a disease that causes damaged soft tissue to regrow as bone.

According to Jo-co's description, "sufferers are slowly imprisoned by their own skeletons."

A case of Fibrodysplasia ossificans progressiva
Patient with severe bone formation
San Diego, California, 2009

Yet, as Thomas Browne once noted, "There are no Grotesques in nature."

Source: Browne, Religio Medici (1643), 1645, pt. 1, sect. 15: "Natura nihil agit frustra, is the onely indisputed axiome in Philosophy. There are no Grotesques in nature; not any thing framed to fill up empty cantons, and unnecessary spaces" (James Eason, Religio Medici, facsimile version, University of Chicago, 2001, p. 28, pt. 15; 13.12.07).

• Related post: Atypical Beings

24.2.14

Talisman in Jewish Folklore




Exhibition

Jerusalem, Bible Lands Museum, Angels and Demons: Jewish Magic through the Ages, May 2010.

New Exhibition at the Bible Lands Museum Jerusalem
Opens Today, 5 May 2010 through May 2011

How do you charm a woman? How do you protect babies against the evil demon Lilith? Why would you bury bowls upside-down at the entrance to your home?

The magical and mysterious world of Jewish incantations, spells and curses will be revealed in the upcoming exhibition Angels and Demons, Jewish Magic through the Ages.

This thought-provoking exhibition combines archaeology, folklore and superstition in an all encompassing display of amulets, khamsas, jewelry, manuscripts, books of spells and other mystifying objects.


A new exhibition – the first of its type - has opened this week at the Bible Lands Museum Jerusalem. Entitled Angels & Demons, Jewish Magic through the Ages, the exhibition reveals the magical and mysterious world of Jewish incantations, spells and curses. Exploring the practice of magic in Jewish tradition from ancient times to today through archaeology, folklore and superstition, the exhibition includes an all encompassing display of amulets, khamsas, jewelry, manuscripts and books of spells.

Angels & Demons, Jewish Magic through the Ages, examines the origins and development of magic in Judaism from the First Temple period to the present day by focusing on beliefs, customs and, particularly, the practical use of magical objects in daily Jewish life. Belief that the world was filled with supernatural beings and forces such as angels, demons, spirits and the evil eye was common in the ancient world. Indeed, many people today hold to that conviction. Many powers were attributed to these beings that were thought to be responsible for the good, but especially the bad things, happening to people on a daily basis.

Among the rare and interesting items is a child's tunic-shirt discovered in the Cave of Letters dated to the Bar Kochba period (132-135 CE). Thousands of fragments of textiles have been discovered in Israel, but the Cave of Letters was the only one where the phenomenon of tied textile ('sacks') was found. These little 'sacks' contained various items believed to have protective and healing powers and to guard against the evil eye.

Another exceptional object on display is an amuletic textile from Iran. The textile shows a variety of images and symbols that reflect a mix of Iranian Jewish and non-Jewish magical traditions. The names of the ten sons of Haman (villain from the Book of Esther) are inscribed on the fabric. It was believed that all evil directed at the owner of this textile would be deflected onto the ten sons.

Also on display is a rare 2,500 year old marble discus from the Sea of Yavneh-Yam (near Kibbutz Palmahim). This has been identified as representing the cornea, iris and pupil of an eye and was mounted on the bow of a ship to protect the ship, its captain and its crew from the evil eye. There are only four such objects known in the world, two in Israel and two in Turkey.

Many of the artifacts are on loan to this exhibition from private collections and have never before been on public display. The exhibition is enhanced by artifacts on loan from the Golan Archaeological Museum, The Institute of Archaeology of The Hebrew University of Jerusalem, The Israel Antiquities Authority and private collectors.

Resources

• Norman A. Rubin, Exhibition Angels and Demons, Fine Arts 360°, 2.5.2010

An exhibition of Jewish Magic through the ages at the Bible Lands Jerusalem – The magical and mystical mysterious world of Jewish incantations, spells, magic, curses and oaths, are displayed in amulets, shamsas, jewelry, manuscripts, books of spells, and other mystifying artifacts and objects.

In the ancient and medieval worlds, Jews were reputed to possess much knowledge about magic: amulets and spells to heal from sickness or harm one’s enemies, mystical incantations to ascend to heaven or bring angels down to earth, and information about the beneficent angels who assisted humans in their fight against the demons of illness and madness. Jewish magic has been part of folk Jewish knowledge and elite rabbinic practice through the years.

In antiquity there flourished among Jews (and other nations of that era) a widespread literature of magic and mysticism. Those people had a fear of the unknown and had turned to supernatural and magical forces, the magic of spells and amulets and incantations to alleviate and solving their personal troubles, by the performance of physical rituals, by the employment of magical herbs as amulets or potions; Written testimony to the magic formulae in Jewish literature can be found in the Bible, the Mishnah, the Talmud, and the Midrashim – and in archeological finds, i.e. in Qumran a fragment of a scroll was found containing magic compositions that was written in the Hasmonaean era.

The magic texts written on amulets and other artifacts, formulae written in sacred books that were to protect man (woman) were also meant to find favor with others, win love and admiration, social success and above all to cure one of illness. Healing of illness was usually was done in the fashion of expulsion of evil spirits, demons, and the evil eye through incantations, religious rites and wearing amulets written for the purpose of curing illness of all sorts – “May the evil spirit, the shadow-spirit, and the demon, both male and female depart from one’s body.” Also the names of the angels or deities are mentioned in which the spells are pronounced; Jewish texts frequently refer to the angels Michael, Gabriel, and Raphael. The use of magical powers was seen as normal during the Talmudic era, and it was sanctioned so long as the person involved stood within the rabbinic community and used magic for purposes accepted within rabbinic religion.

Note: Occasionally an incantation that was recited by the sages was directed against a specific disease. i.e Malaria was prevalent in that era and the Talmud contains varied prescriptions for treatment for the disease. In the Babylonian Talmud, Gittin 67b there is the distinction made between ‘one-day malaria’, tertian malaria’ and ‘feverish malaria’ (Joshua Trachtenberg, Jewish Magic and Superstition, 1939).

The symbolic hamsa hand (Arabic) or hamesh hand (Hebrew) is an ancient and still popular an amulet for magical protection from the envious or the evil eye and is also known known to draw positive energy, happiness, riches and health. The hamsa (semitic root meaning five) includes five digits and symbolizes the Creator’s protective hand and refers to the digits on the hand. An alternative Jewish name for it is the Hand of Miriam, in reference to the sister of Moses and Aaron. Some hamsas contain images of fish, "the water covers the fish of the sea so the eye has no power over them (Berakhot 55b)." Some hamsa artifacts have the colors red and blue, both of which are said to thwart the Evil Eye. The symbol of the hand, and often of priestly hands, appears in kabbalistic manuscripts and amulets, doubling as the letter ‘SHIN’, the first letter of the divine name 'Shaddai' (one of the names referring to God).

Among the demons best known by the sages was Lillith. According to the Midrash, she was considered to be Adam’s first wife and when they parted she pledged herself to causing great harm for women in childbirth; she is a female demon of the night that supposedly flies around searching for newborn children either to kidnap or strangle them. Also, she sleeps with men to seduce them into propagating demon sons. Lilith abounds in many mythologies which causes difficulty in pinpointing her exact origin. A preeminent mythology is the Jewish folklore, or the Zohar, the book of splendor, a Kabbalistic thirteenth century meditation on the Old Testament, which establishes the Hebraic myth of Lilith, the Kabbalah further enhanced her demonic character by making her the partner of Samael (i.e. Satan) and queen of the realm of the forces of evil. (She represents the deeper, darker fear men have of women and female sexuality, inasmuch as female sexuality.)

Note: The appalling mortality rates of women in childbirth and of newborn children in the Talmudic era lay behind the terror of the demon Lillith.

According to some rabbinic sources, the demons were believed to be under the authority the king of the nether world, either Asmodai or, in the older Haggadah, Samael (“the angel of death”), who kills by his deadly poison. Occasionally in Jewish texts a demon is called “Satan”:” The reality of demons was never questioned by the Talmudists and the late rabbis; most accepted their existence as a fact. Even did most of the medieval Jewish scholars question their reality; demons were still dreaded in medieval Jewish folklore, as documented in the 13th century Sefer Hasidim.

Note: According to Rabbinical theologians there were three types of demons – Shedim (devils) the Mazzikim (harmers), and the Ruah (“spirits”). And there a host of other minor demons and spirits written in the Talmud; the evil creatures that caused migraines (Ruah Palga – Gittim 68b), the demon Ketev mention in the Psalms 91-6 and Deut. 32-24 is responsible for intestinal diseases, especially in the summer months, RuahTazzazit attacks animals and causes rabies and other convulsions (Yoma 83b), and etc…

Demons and evil spirits were thought by the superstitious to quite innumerable. “There numbers outweigh the number of humans on earth. If men were able to see them, none could stand the sight.” (Berakhot 6a).

Whereas the names of angels that have magical apotropaic properties frequently appear on amulets, magical inscriptions and formula. In the bedtime ritual Kriat Sh’ma al ha-Mitah, the angels Michael, Gabriel, Uriel and Raphael are invoked for protection through the night.

This thought-provoking exhibition at the Bible Lands Museum combines archaeology, folklore and superstition in an all encompassing display.

• Israel - New Exhibition in Jerusalem Highlights Segulas Used Throughout Jewish History, Vos Iz Neias, 3.5.2010. Includes 29 comments.

The exhibition [...] examines the origins and development of magical practices in Judaism by focusing on beliefs, customs and the use of magical objects in daily Jewish life.

Israel - How do you protect babies against the evil demon Lilith? Why would you bury bowls upside-down at the entrance to your home?
The magical and mysterious world of Jewish incantations, spells and curses is revealed starting this this week May 5 in Israel at the upcoming exhibition Angels and Demons, Jewish Magic through the Ages.
This thought-provoking exhibition combines archaeology, folklore and superstition in an all encompassing display of amulets, khamsas, jewelry, manuscripts, books of spells and other mystifying objects.

• Exhibition at the Bible Lands Museum Looks at Jewish Magic through the Ages, ArtDaily, 4.5.2010

JERUSALEM.- Magic permeates our daily (Jewish) lives to such a degree that life without magic is close to impossible. An interesting fact is that most individuals are unaware that many items in their daily life and many daily actions and beliefs are magical in nature. Examples of this are endless: knocking on wood, tfu tfu tfu, Evil Eye (בלי עין הרע), not naming a child before birth, the amuletic power of the mezuzah, red ribbon bracelet, khamsas, jinxes… These and many more practices have ancient sources. Some have lost their meaning even though they are still used, for example, the magical formula ABRACADABRA, has its roots in the 3rd century CE, and is continuously used even today.

In this exhibition visitors examine the origins and development of magic in Judaism from the First Temple period to the present day by focusing on beliefs, customs and, particularly, the practical use of magic objects in daily Jewish life.

Belief that the world was filled with supernatural beings and forces such as angels, demons, spirits and the evil eye was common in the ancient world and, indeed, many people today hold to that conviction. These forces were attributed with many powers and were thought to be responsible for many of the good, but especially the bad things occurring to people on a daily basis. It was (and is) generally believed that such forces can be coerced into acting on behalf of the applicant. Depending on whether the goal of this coercion was for evil or good, we can distinguish between witchcraft (black magic) and magic (protective magic, or white magic).

Biblical laws strictly forbid the Jewish people from having anything to do with witchcraft (black magic):

"You shall not allow a sorceress to live". (Exodus 22:17)

“There must not be found among you anyone that … uses divination, a soothsayer, or an enchanter, or a witch, or a charmer, or a medium, or a wizard, or a necromancer". (Deuteronomy 18:10-11)

However, (white) magic - i.e. defense against the dark arts, the forces of evil and the damage they cause - was not forbidden in Judaism. This is clear both from biblical and rabbinical writings and from many of the preserved.

The exhibition is enhanced by artifacts on loan from the Golan Archaeological Museum, The Institute of Archaeology of The Hebrew University of Jerusalem, The Israel Antiquities Authority and private collectors.

• Ángeles y demonios contra el mal de ojo en el judaísmo, RPP Noticias, Perú, 4.5.2010

La magia empleada en la tradición judía permitió proteger a una parturienta de fuerzas demoníacas, conquistar a una mujer y defender el hogar de vecinos indeseables.

¿Cómo luchar contra el mal de ojo, proteger a una parturienta de fuerzas demoníacas, conquistar a una mujer o defender el hogar de vecinos indeseables? La magia empleada en la tradición judía tiene la respuesta a estas y otras preguntas.
Bajo el título de "Ángeles y Demonios, magia judía a lo largo de los años", el Museo de las Tierras de la Biblia de Jerusalén inaugura mañana una exposición que analiza los orígenes y desarrollo de las prácticas de la magia en la tradición mosaica desde el período del Templo del rey Salomón (siglo X a.C).
Aunque pudiera parecer el título de un best-seller, la muestra es la primera de su tipo en Israel y repasa las creencias del judaísmo marcadas por la existencia de poderes sobrenaturales, ángeles, demonios, espíritus y fuerzas malignas como el mal de ojo, comunes a otras culturas de la antigüedad.
"Es una mirada única de cómo vemos a las fuerzas protectoras contra el mal en este mundo, bien sea para conservar la salud o proteger el hogar", apunta a Efe la directora del museo, Amanda Weiss.
En la exposición se pueden encontrar estatuillas, amuletos, telas y pergaminos manuscritos e incluso material orgánico para realizar encantamientos, pócimas amorosas o luchar contra las maldiciones.
Gran parte de estos objetos fueron usados en la vida cotidiana de las comunidades judías de Europa, Oriente Medio y norte de África.
"Hoy seguimos empleando amuletos contra el mal de ojo como la "jamsa" (símbolo de una mano) y otros que probablemente incorporó el judaísmo desde la práctica islámica", explica Weiss.
Junto a estas populares manos que son sinónimo de buena fortuna, la exhibición presenta unos cuencos con inscripciones que eran enterrados boca abajo debajo de los suelos de los hogares judíos a fin de alejar a los malos espíritus y evitar incendios.
El hecho de que un vecino pueda incordiar hasta hacerse insufrible trae cola desde antiguo y, para luchar contra ello, los judíos empleaban fórmulas cabalísticas que les ayudasen a deshacerse del incómodo huésped, también útiles para repeler a las ratas.
El principio que guía los utensilios contra el mal de ojo es el de un espejo que reflejará la mala suerte, según explican los responsables de la exhibición, que destacan que el "ojo" simboliza lo que otros perciben de uno y provoca la envidia.
"A fin de luchar contra las enfermedades o la mala fortuna se solían dibujar pasajes del Antiguo Testamento o lugares santos en la Tierra de Israel que eran empleados como talismanes", apunta la subcomisaria de la muestra, Ori Meiri.
El Talmud (ley oral del judaísmo) dice que de 100 muertes, 99 son por el mal de ojo y una por causas naturales, lo que explicaría el celo con que el judaísmo cuida una de las etapas de la vida más susceptibles de "la mala fortuna", como es la maternidad.
Así, en la tradición judía no se suele mencionar el nombre del hijo que va a nacer hasta después del parto o incluso la circuncisión y muchos bendicen al bebé con las palabras: "Dios le libre del mal de ojo".
Uno de los mayores temores de las embarazadas más supersticiosas es la figura de Lilit, un ser demoníaco capaz de atacar a los recién nacidos y que según la leyenda, fue la primera mujer creada por Dios, que abandonó el paraíso y a Adán al negarse a ser sometida en el plano sexual.
Para salvar a los pequeños es costumbre invocar a los tres ángeles, Sanoy, Sansanoy y Samanglaf, enviados por Dios para traer de vuelta a Lilit al Edén pero que fracasaron en el intento, pues ella ya se había casado con el diablo.
El tema amoroso y erótico es uno de los que atrae mayor atención, como muestran unas figurillas del período bizantino con forma de mujer con las manos atadas en la espalda y consideradas "muñecas-vudú", expuestas en una sala dedicada a la "magia negra".
La ley judía prohíbe la práctica de este tipo de magia, "a la hechicera no dejarás que viva" (Éxodo 22:17), aunque no la lucha contra los poderes malignos.
La Cábala aplicada también proporciona encantamientos y libros que contienen fórmulas para que una mujer se enamore de un hombre y "su corazón arda de pasión".
Weiss señala que para el judaísmo hay una diferencia entre la práctica religiosa y la superstición, aunque reconoce que a veces sólo las separa una delgada línea. EFE

• Angels & Demons, Jewish Magic through the Ages, Biblical Archaeology Society, 5.5.2010

The newest exhibit at the Bible Lands Museum Jerusalem, Angels & Demons, Jewish Magic through the Ages, opened on May 5th. Designed to explore the origins and development of magic within Judaism, the exhibit is comprised of items relating to folklore and superstition such as amulets, Khamsas, jewelry, manuscripts and books of spells. Beliefs, customs and the practical use of magical objects in Jewish life will be examined beginning as far back as the First Temple Period up until recent times. The exhibit also includes loaned artifacts from the Golan Archaeological Museum, the Institute of Archaeology of the Hebrew University of Jerusalem, the Israel Antiquities Authority and numerous private collectors.

• Jewish Magic through the Ages, Times of Malta, 5.5.2010

A birth amulet to protect the new born, depicting an angel in the form of a bird and a hamsa, inscribed with a spell against the evil eye and an incantation against the demon Lilith made in Israel in 1864 is exhibited at the Angels and Demons, Jewish Magic through the Ages exhibition.
The exhibition is held at the Bible Lands Museum in Jerusalem. It examines the origins and development of magical practices in Judaism from the First Temple period to the present day by focusing on beliefs, customs and particularly, the use of magic objects in daily Jewish life.
The exhibition combines archaeology, folklore and superstition in an all encompassing display of amulets, hamsas, jewelry, manuscripts, books of spells (kaballah ma'asit) and other mystifying objects.

• Angels and Demons in Jerusalem, Euronews, 12.5.2010.

A new exhibition – Angels and Demons – has opened at the Bible Lands Museum in Jerusalem. The focus is on Jewish magic and mystical symbolism and the display includes artifacts as well as documentation. Entering on the right foot brings luck, as does the hamsa – a symbol shaped like an upside-down hand.
A Jewish magic practitioner Yitzhak Mizrahi explains: "We have many cases in Israel of spirits, like souls of deceased people who don’t move on but stay in the house. That can cause bad luck or phenomena that scare the residents of the house, so we write what we call a Solomon seal. The purpose of this is to release the spirits from the house in order to purify it."
The exhibition distinguishes between what it calls white magic – like amulets containing blessings for health, marriage, easy birth and success in business – and black magic like love spells or spells to make people unwittingly share their secrets.

• Dan Friedman, Jews have been Magic for Thousands of Years, Forward, 19.5.2010

We all believe in magic. Despite 300 years of industrial and social revolution, as well as unparalleled explanation of the natural world through the scientific method, we still throw salt over our shoulders, put up hamsas in our homes, wear lucky shirts to job interviews and run through tested game-day rituals, whether we are playing or watching. The new exhibition at the Bible Lands Museum Jerusalem, "Angels & Demons: Jewish Magic Through the Ages," (open for a year from May 5) shows us how deep-rooted and complex those beliefs are.
The majority of the exhibition, which displays artifacts from North Africa, Byzantium and other locales more geographically appropriate for a museum based on the Bible lands, is of the "don’t ask, don’t tell" order of magic. Items and procedures that the rabbis might not condone, but would probably not go out of their way to condemn; spells to cure disease, charms to protect new mothers or newborn children and amulets to ward off evil or infestation were not religiously countenanced, but did little harm. In fact, the most recent amulet on display (placed next to the most ancient item, from the 8th century BCE at the exhibition’s entrance) is a text with specific instructions for use. This text, written in 1992, cured the owner who every day for a week drank water in which the parchment had been steeped and then wore it in a silver holder until the problem was resolved.
Of course, hamsas and other general amulets for warding off the evil eye have always been balanced by specific prescriptions. Most unexpected, at least to this Northern European Jew, were the inverted clay bowls inscribed with spells and, often, pictures that were placed under the threshold of the house to deter spirits and beasts from entering. These, too, varied between the general (fire, rats) and the specific (the angel Sarfiel orders two demons to be exorcised from the household of Kafnay, son of Imma, and his wife, Immay, daughter of Anay).
Black magic that bends others to your will, only plays a small part in the exhibition. But, enticingly hidden behind a black curtain, are the forbidden tools of manipulative magic: potions, curses and poppet dolls. The details of magical coercion are exotic, but the intentions are almost always banal: Hurt your enemies, and seduce objects of desire. In a rare twist, a carved voodoo doll with bound limbs from the Hellenistic Period in Israel (332 C.E. — 37 BCE), is labeled "probably used in erotic magic practices," suggesting that some people were aiming to kill two birds with one stone.
Obviously, magical objects are going to look a little strange from the context of the Jewish mainstream. But even beyond this strangeness, the widespread use of pictures and, in some cases, figures gives these Jewish objects the aura of the pagan. Less so for the illustrated magic books collecting recipes, spells and procedures for mitigating a variety of situations. For a people so obsessed with the divinity of the book, the power of letters is second nature even when it is, strictly speaking, prohibited.
One virtue of magicians is that they, like novelists, have a vested interest in making the unknown seem graphic and terrible. Demons are not cute cartoon characters, but rather furious forces of nature to be dealt with in specific ways. In the magical worldview, Lilith is not a powerful feminist icon but a vicious, vengeful demon who devours newborn babies and spitefully kills their mothers. Specific adjurations need to be crafted, alluding to myths describing her weaknesses and previous promises. The anime-sounding Suni, Susuni and Snigli are in fact powerful angels. By a number of different names alluding to the same myths (in other texts they are called Sanoi, Sansanoi and Samangalof), they have the hex on Lilith and are thus the specific spirits charged with protecting houses with babies and mothers in them.
In the end, the main drawback of "Angels & Demons" is its logistical limitations of space and scope. It’s a shame that such a suggestive exhibition couldn’t be spread out more. The surface of the prevalence, pattern and practice of Jewish magic and its context in the larger world of Mediterranean mythology is barely scratched by this worthy introduction. Samangalof and friends come from an entirely alternative mythical system that would surely enrich our understanding of midrashic traditions. The museum is running a series of events that allows collectors, users and current practitioners of the magical arts to shed light on this marginal but very Jewish narrative. Perhaps, with intervention from either side of the black curtain, such a show might become possible in the future!

• Gwen Ackerman, Lovers enticed, Demons trapped by Jewish Magic Charms, Bloomberg, 20.5.2010

Take some incantation bowls, turn them upside down and bury them under the threshold of your home. Believe they have a little magic and watch them trap demons from entering, and keep the place safe.
The clay and bronze bowls from about 1,500 years ago are among items of superstition on display at the "Angels & Demons, Jewish Magic Through the Ages" exhibition at Bible Lands Museum Jerusalem. A bronze doll, hands tied behind its back, was probably used in erotic practices 2,300 years ago.
In the entrance hangs a more recent amulet personally inscribed for a friend of the curator to heal an illness. According to instruction, she dipped the amulet in water every day for a week and drank the liquid. After the first seven days, she wore the amulet around her neck until she recovered.
"This woman is healthy today," said museum director Amanda Weiss. "Did the amulet do it? You tell me. It is a fascinating concept. What we wanted to look at in this exhibit is what drives us to look for that extra power."
The primary motive is fear, Weiss said.
Some superstitions have transcended the centuries, such as framing amulets made of paper or parchment and hanging them on walls. About 1,900 years ago, mothers tried tying small sacks containing items to a child’s tunic. Now parents pin charms to baby carriages. The items are said to ward off fire, rats and evil.
Weiss says she has hung several hamsas, the sign of a hand that keeps out evil, in her home. "Does that mean my home won’t be safe without them? No. But I happen to think that they add to the positive energy," she said.
Israel’s ultra-Orthodox Shas party has used amulets in its election campaigns, prompting in 2000 an amendment to the election law prohibiting the lobbying to vote or not to vote "via oath, excommunication, promise to bless or giving amulets."
Magic, or mysticism, has a permanent place "in popular Jewish spirituality, which has elicited everything from vociferous opposition to quiet consent, to an actual endorsement," said Jeffrey Woolf, a Jewish-studies lecturer at Bar-Ilan University.
Throughout the centuries, Judaism has allowed for the practice of forswearing “heavenly hosts to do your bidding, especially for something good,” he added. Even in medieval texts there are references to the enlisting of angels to help drive a miscreant out of a community.
Items displayed come from private collections, other museums, the Israel Antiquities Authority, and other Bible Lands exhibits.
They include books containing recipes for love potions, or for concoctions "to get rid of a lousy neighbor," said Weiss.

• Benny Ziffer, A Walk through the Subconscious, Haaretz, 17.9.2010

The exhibition 'Angels and Demons' at the Bible Lands Museum focuses on the rich history of sorcery in Judaism.

There has been a sort of exorcism going on in the Bible Lands Museum in Jerusalem over the past few months. An exhibit called "Angels and Demons" - curated by gifted Assyriologist Filip Vukosavovic, whose life story would make a great novel - tells the story of this young Montenegrin's love for Israel and his decision to join his fate to that of Jerusalem, by researching incantations and amulets related to Jewish tradition.
The exhibit displays the entire history of Jewish magic, from the early Middle Ages onward, in the form of objects, some of which you wouldn't suspect of being useful for sorcery if it weren't for the explanations provided. These items embody humanity's fears, past and present, in the face of danger. A seemingly shapeless lump of clay turns out to be a little sculpture of a person with its hands and feet tied, signifying the desire of its owner to symbolically bind evil so it won't harm him. And there are angels for all seasons, whose names are no less strange than the powers attributed to them. Their role? To defend people in difficult times, whether from the evil eye, bad health or other problems.
For instance, the angel Serfial, drawn on a Mesopotamian bowl, inscribed with text in Judeo-Aramaic, from the early Middle Ages, looks as though he came straight from painter Paul Klee's brush. Serfial was a "personal" angel, hired to defend Kafnay, son of Imma, and his wife, Immay daughter of Anai, from ghosts in their home. And how poetic and musical are the names of a trio of guardian angels from the kabbalistic Book of Raziel: Senoy, Sansenoy and Semangelof.
Inscriptions are written on strips of leather, paper, human skulls, coins and knots. What did they protect one against? Scorpions, primarily. "Human" scorpions, no less. This is where black magic enters the picture - a phenomenon as widespread in the Jewish world as it was in general. One of the most famous inscriptions from the biblical period is a curse found at the entrance to a Judean cave from the 7th century B.C.E., which says: "Damned be the cockroach son of a grasshopper by the hosts of God," apparently referring to some unwanted personage in entomological terms.
If visitors to the Israel Museum may be thought to be wandering through the recorded history of the Jewish people, in "Angels and Demons" one walks through its subconscious.

• Michael D. Swartz, Angels & Demons, Biblical Archaeology Society, 16.1.2012

Here is a brief quiz for BAR readers:
(1) What are the two most ancient copies of a Biblical text?
(2) What is the largest body of inscriptions documenting ancient Judaism?
Most BAR readers will know the answer to the first question: The two small strips of silver from Ketef Hinnom containing portions of the Priestly Blessing from Numbers 6:24–26. Fewer people, however, may realize these small silver strips were most probably magical amulets. Like many ancient amulets, they were found at a gravesite. See Gabriel Barkay, The Riches of Ketef Hinnom: Jerusalem Tomb Yields Biblical Text Four Centuries Older than Dead Sea Scrolls, BAR 35:04.
The answer to the second question is not so well known: The largest body of inscriptions from ancient Judaism is the collection of more than 2,000 magic bowls from Talmudic Babylonia (present-day Iraq) from the fifth–eighth centuries C.E. These bowls are inscribed in Aramaic with incantations against demons. See Hershel Shanks, Magic Incantation Bowls: Charms to Curse, to Cure, and to Celebrate, BAR 33:01.
Magic—a term usually applied to unauthorized ritual practices to obtain a material benefit for an individual—has flourished in Judaism from Biblical times to the present, despite prohibitions against witches and other practitioners in Exodus 22:17 (verse 18 in English), Deuteronomy 18, and elsewhere in the Hebrew Bible.1 Jewish magic usually involves invoking the powerful name of God to command intermediary beings, such as angels and demons, to do the will of the practitioner. For centuries Jews have used magical incantations, talismans worn on the body or hung in the house, objects such as curse tablets, and handbooks, for conducting magical rituals to heal a sick person or protect women and babies in childbirth or make a business prosperous. Other curses are used to harm an enemy or cast a spell to make someone fall desperately in love. These latter two often take the same form—adjuring an angel or demon to put a burning fire in the bowels of the intended "victim." In our day, Jewish books, images and Web sites of "practical Kabbalah" can be downloaded from the Internet, and magical charms can be bought in kosher grocery stores.
In 2010 the Bible Lands Museum in Jerusalem recognized the importance of the magical tradition in Jewish history and culture with an exhibit of amulets, objects, books, manuscripts and ephemera from classical antiquity to modern times. This handsome volume is the exhibition catalogue. It contains rich photographs of the objects—indeed some of the best photos yet available of some texts and archaeological items. It also features essays by some of the finest scholars of Jewish magic, mysticism and art history.
The essays begin with brief surveys of the main historical periods and go on to specific themes. The objects are organized not by historical period but by function (such as "Personal Protection" and aggressive magic, here called "black magic") and by themes, such as "Letter and Word" and "Evil Eye." This organization highlights two important features of Jewish magic: Its cosmopolitan nature and its remarkable continuity. Jewish magical texts and objects closely resemble those of their neighbors, so that instructions found in the Book of Mysteries (Sefer ha-Razim), a magical handbook from the Talmudic period, are very similar to non-Jewish Greek magical papyri of the same era. Jewish magic’s cosmopolitan character is illustrated in the catalogue by magical gems with the names of Jewish angels written in Greek. There are also many examples of the "khamsa," a symbolic hand worn as a pendant or hung on a wall as protection against the evil eye; this same image is found throughout the Middle East.