Magical Gemstones: An Abridged Guide
Magical gemstones are a type of talisman made of semiprecious stones —such as hematite, carnelian or amethyst— that were worn set in rings or as pendants and their size ranges from 1.5 cm to 3 cm.These gemstones haven't magical, protective characteristics because of the nature of the gem itself but because the representations of Gods and holy names carved conceded them virtues through holy dynamis: This is, among other things, the inherent power of divine names and/or their representations.
These depictions are normally inverted (negative) This, together with the fact that some of the gems show a certain degree of worn indicates that they were manipulated in some way—probably rubbed or even licked, in order to increase their efficacy—proves that they were not conceived as seals but as amulets or talismans.
A magical gemstone, to be considered as such, should have one or more of the following elements:
An iconographic language generally belonging to syncretic Gods or that combines Gods from different origins.
Charakteres (magical signs. They can be planetary, protective, etc.)
Voces magicae (Words of power and phrases whose formulation and structure may hide secret, sacred names of Gods as well as prayers or incantations dedicated to them, sometimes with the intention of controlling their emanations and daimonēs) and logoi (magical names, permutation of magical names and vocals).
The practice and use of magical voices was transmitted orally across the eastern Mediterranean, but it wasn't until the early 1st century b.c.e. the practice began to be included in written form. The abundance of amulets and gems with magical names and signs are evidence of this change of paradigm.
In addition, elements are usually complemented by two structural features:
The gemstone is engraved on both the obverse and the reverse, sometimes even on the edge.
The inscription appears directly and not in mirror writing.
These magic gemstones, in addition, can be magical gemstones stricto sensu and amuletic gems. The latter differ from the former in:
That the iconographic patterns they contain are explicitly described as belonging to amulets in textual sources such as Posidippus's Lithika
They bear a prophylactic inscription, usually "diaphylasse" (protect me!), "sōzon" (save me!) or "Heis Theos" (One God).
Its production began during the late Hellenistic period, but it was not until the 2nd and 4th centuries c.e. that it reached its apogee. Magical gemstones' imagery demonstrates the diversity and plurality of Greek, Roman, Egyptian, Egyptian, Christian, Gnostic and Jewish representations and ideas from the Mediterranean from the Roman period, as well as the popularity and diversity of magical activities and practices.
These magic gemstones were rarely used for evil purposes, such as harming someone. Their most common use was to offer protection or solve personal health problems: those showing an ibis tied by an altar and including the command "pésse!" (digest) were used to heal indigestion and other stomach problems; others, depicting a uterus, offered represented a womb, offered protection during childbirth and guaranteed fertility.
Although most of these magic gemstones were used as jewelry, it is possible that they also had other uses, as part of a ritual to heal a patient or as a physical component for an incantation, such as those with depictions of Harpocrates seated on a lotus the nomina magica Bainchōōōch (Bainchōōōch, Ba of the Shadow, isn't only a vox magica/nomina magica but a God on their own right. PGM aside, Bainchōōōch appears in Pistis Sophia as a triple powered deity that descends onto Jesus, giving him his powers)
An interesting fact is that of the production of magical gemstones during the 17th and 18th centuries of our era. Although the production of these gems continued during the Middle Ages and the Renaissance —irregularly, of course— they reflected the magical and religious reflected the magical and religious practices of their historical context.
This, however, was not the case during the 17th and 18th centuries, where magical gemstones of great quality and sophistication were produced, which not only reproduced the iconographic motifs and logoi of the pre-existing graeco-egyptian magic gemstones, but also introduced new ones. An example of these gems are those with representations of Christ-Osiris or Jesus-Khepri
Sources:
Nagy, M. A., (2015) Engineering Ancient Amulets: Magical Gems of the Roman Imperial Period. in D. Boschung and J. Bremmer (eds), The Materiality of Magic (Morphomata 20). Paderborn, 205-240.
Faraone, C. (2018) The Transformation of Greek Amulets in Roman Imperial Times, Filadelfia; University of Pennsylvania Press.
Simone, M., (2005) (Re)Interpreting Magical Gems, Ancient and Modern en Shaked, S., Officina Magica: Essays on the Practice of Magic in Antiquity (IJS Studies in Judaica, vol. 4), Leiden; Brill, 141-170.
Campbell-Bonner Magical Gems Database (http://cbd.mfab.hu)
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Introducing my latest original art, "Messenger", a mixed media of watercolor, colored pencils, and white ink on 9 X 12 smooth Bristol paper.
I absolutely love the process of using these mediums together, and it was a joy to share that with my Patrons. This is what I love, the work of it. The end result is great, but it is in the work itself that I find my soul.
Original is SOLD.
Prints are available in my store!
Wall tapestries are available as well.
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In terms of painting non Warhammer bits, here's my Wizard and apprentice from Frostgrave, if you haven't played Frostgrave it's super quick and easy to pick up, give it a try!
First up - The mighty summoner Abu
And his alcoholic apprentice - Bubu..
I had a lot of fun painting their gems, especially Abu's staff!
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