Ethiopian Magic Scrolls

click on images for descriptions

The mystery of talismans, and other esoteric arts - the knowledge of spells, the Names of God of cures and summoning spirits, composes lore of “Ethiopian Wisdom”, the tebab. Art of powerful healing images - talsam, from the Arabic tilasm, which itself comes from the Greek telesma, "effective object", was developed by Ethiopians to a great degree. It likely came to Ethiopia during Axumite Empire from Mediterranean and the schools of late Hellenistic world, much like alchemy and Cabala did, and later borrowed heavily from Copts and Islam.

Ethiopia was known as a powerful, rich and mysterious realm to ancient Egyptians, Greeks and medieval Europe. With deep Judaic origins, Axumite Empire adopted Christianity in 330-340 A.D. under King Ezana, simultaneously with Constantinople. Axumite Christian Emperors gave refuge to first Muslims fleeing Mecca in 6th century.

Most of great early architectural monuments and churches in Ethiopia where built or carved from 5th century B.C. to 12th century A.D. Manuscript illumination, literature and iconography flourished during 14th and 15th centuries under “Solomonic” dynasty. In 16th century power of the Christian empire was diminished by Adalite Jihad against the highlands, during which large portion of Christian art was destroyed.  In later centuries church and court art regrouped and flourished in the Imperial city of Gondar. Most of Ethiopian art was centered on Orthodox Church and Court. It was richly influenced by Byzantine, Islamic, Indian (Mogul) and Renaissance European art, always retaining uniquely Ethiopian interpretations.

Production of talismanic art was wide spread among the entire Ethiopian population. While mostly within Christian tradition, it also drew heavily from Judaism and Islam and was practiced by all. It was wide spread in Egypt in 10th century. Talismanic art had an uneasy relationship with Orthodox Church, and although it is deeply integrated in its life and traditions, it was often considered idolatry, and while not exactly forbidden, (except in cases of invoking demons etc.) it is often frowned upon.

So called “Magic Scrolls” are long rolls of parchment, illuminated by talismanic and figurative images and texts, usually in Ge’ez (Ethiopian liturgical language), of protective prayers, invocations of secret names of God, or sometimes demons. They are produced and used for varied purposes, healing, protection from spells, exorcisms etc. Scrolls are referred to as “ya’ branna kitab”, “written on skin” in Amharic, “asmat” or “names” in Ge’ez or “ta’lsam”, “talisman” in Tigrinya.

Scrolls are made for a specific individual by  “dabtara” (an unordained “priest” who studied scriptures, singing and poetry, a practitioner of traditional medicine, magician) and are carried and used by that person extensively. They rarely survive trough few generations of use. The oldest known scroll is recently dated to16th century, while majority of great surviving scrolls date between late 18th to early 20th century, as do the scrolls in this exhibit.

Unlike figurative art, iconography of the scrolls is believed by Ethiopians to reach, unchanged, much further back in time to the revelation itself.   Indeed, they are thought to be true graphic representation of mysteries revealed to man, according to one tradition by demon Azzazel before the flood, and according to another by God himself to Abraham and Solomon.

“Seal of Solomon“- frequent eight pointed star talismanic image on scrolls- is said to have been given to the King by Archangel Michael as a ring containing secret Name of God, same with which he threw Satan(el) from heaven during a great battle on fourth day of creation.

Another important scroll on exhibit shows the striking image of the demon. This evil spirit from the legend of “ St. Sisenius” has his face framed by two snakes whose coils make his large eyes. Small cross on top of his head exorcizes the demon. The image is meant to scare the possessed and make the demon flee.

Ethiopia holds a unique position as an ancient Christian culture in the horn of Africa, surrounded by tribal and Islamic communities. Although related to both Byzantine and African arts, scholars have mostly ignored the art of Ethiopia and, until recently, little attention had been given to the great works that this culture produced.  However, the study of Ethiopian art is now growing and most objects can be reliably dated, based on documented pieces.

Magic scrolls are in collection of Branly, Paris, Brooklyn Museum, NY, Israel Museum and other major institutions.  They where the core of major exhibits, notably “Art That Heals”, New York, 1999, organized by Jacques Mercier.