A rocking chair occult marionette is an intriguing object that combines elements of relaxation, mystery, and entertainment. The main idea behind this concept is the fusion of traditional rocking chairs with occult symbolism and the addition of marionette strings for added visual interest. It is a unique and captivating piece that can captivate anyone who encounters it. The **rocking chair** is a symbol of comfort, serenity, and relaxation. It is commonly associated with grandparents, cozy homes, and moments of quiet reflection. The gentle, rhythmic rocking motion can lull one into a state of tranquility, allowing the mind to wander and imagine.
Good condition. Some tarnish. Silver/metal mix (80%+ silver).
A very very special amulet for so many reasons!! See this site for reference - similar amulets in a collection of Moroccan Jewish items:
https://www.judaisme-marocain.org/collection Would make an excellent focal pendant or gift, just as it is.
The daughters marched on the wall in the name of Ariel, in the name of the Creator so not have cause to tremble or fear, not during day and not during night not in the morning and not when arising. Assembled from asymmetrical pieces of plain and gaudy fabric with hand sewn decorations in the form of shiny objects, buttons, beads and nazars and embroidered dots, webs and wavy lines they are made from all recycled materials.
The gentle, rhythmic rocking motion can lull one into a state of tranquility, allowing the mind to wander and imagine. On the other hand, the inclusion of **occult symbolism** adds an element of mystery and intrigue. Occultism often deals with hidden knowledge, spiritual practices, and supernatural phenomena.
Powerful Bundles: The Materiality of Protection Amulets in Early Modern Switzerland
If you shop around for a protection amulet today, you will most likely stumble upon ornamental jewellery. More often than not these pieces are round in shape, and pieces featuring Kabbalistic or runic symbols are especially popular. The term ‘amulet’ is described as a “piece of jewellery some people wear because they think it protects them from bad luck, illness, etc” in the OED. However, when it comes to premodern protection practices, the efficacy of amulets depended on both the production process and the materials and ingredients used. There are two additional significant differences between contemporary and early modern understandings and applications of amulets: First, in early modern Europe, amulets were not only carried around as mobile objects but also attached to houses or buried into the thresholds. Second, amulets were often used to protect valuable livestock against diseases thought to be caused by supernatural agents.
In my research, I understand amulets as powerful bundles, often of diverse materials, which take effect through physical contact between the amulet and the object (person, animal, house) to be protected. As I discuss below, the materials commonly used include herbs, plants, food stuff, words (both spoken and written) and time. For example, it was believed that gathering plants at a certain time of the day or on a holiday enhanced the amulet’s power.
While many recipe books containing instructions on how to make amulets are now lost, it is a stroke of luck that some 17 th and 18 th -century handbooks are still preserved in the State Archive of the Canton of Berne, Switzerland thanks to early 20 th century folklorists and collectors. Unfortunately, these books are difficult to date and connect with specific authors, owners and users. However, comparisons with court documents show that people commonly produced and applied amulets throughout the early modern period. For example, in a court case in Basel 1719, a folk healer called Friedrich Fritschi defended himself for putting hazel rods underneath a window as a way to protect the house owner from a spectre.[i] Although we do not know much about these books, the recipes and the arrangements of the instructions offer valuable insights into the contemporary relevance and ideas about the efficacy of such practices and artefacts. For instance, instructions about the production of amulets are written alongside suggestions on how to get rid of cheese-eating mice, indicating that the production of amulets against evil forces belonged to everyday house care (Hauspflege) .
Basic materials and ingredients of an amulet: linen, a cord, rods, plants, salt and bread. Source. E. Szarka
Let us now turn to an example that illustrates the concepts underpinning the efficacy of the protection amulet:
To insert into houses and barns in case of foul ghosts
Take some good vines, rods, melissa, brown periwinkles, communion bread and salt, [and bind] everything together in the three holy names with a string. Make as many as you need and drill [a hole] in both the barn and above the doors and thresholds. Put a small bundle in every hole and speak: “I put you in here in the name of God”.[ii]
This instruction exemplifies the three main production steps required to ensure the efficacy of the early modern amulet. First, people needed to gather the listed materials and ingredients. Some plants were commonly believed to be inherently powerful against evil forces, such as hazel rods. Salt and communion bread – liturgically and ritually blessed objects (so-called “sacramentals”) – were reoccurring ingredients in these kinds of recipes. Sometimes, makers also used or added slips of paper furnished with bible verses to the amulet to intensify its efficacy. Second, one had to mix the materials and ingredients, form a bundle and tie it with a string. Finally, the amulet had to be applied accordingly. It could be attached to an animal’s neck, to a door, buried into the thresholds or hidden in a drill hole above the house so that it kept malevolent entities from entering. People considered uttering sacred words both during the production and application process to be highly potent.
Drill hole in a wooden beam for a protection amulet found in an 18th century house in rural Basel, State Archive of the Canton of Basel-Land, SL 5250.5024. Source: E. Szarka
As we have seen, the gathering of materials and ingredients, the production as well as the application of the amulet were considered necessary consecutive steps to accumulate divine power. The ingredients were either inherently powerful or charged with sanctity in a liturgical context. Language, both uttered orally during these three steps or added in the form of paper slips, formed essential material ingredients that enhanced the amulet’s efficacy as it drew upon divine power. Similarly, the timing of the production could play a crucial role. For example, one had to collect the plants or apply the amulet at a particular holiday or a sacred time of the day. Time, just like language, acted as a “material” component charged with sacred power that could be transferred to the amulet through the specific production circumstances. Once applied to houses or animals, these effective little packages containing both visible and invisible materialities provided a metaphysical shield to unseen forces.
As I argue in my dissertation on ghosts and spirits in Post-Reformation Switzerland[iii], early modern people believed the world to be permeated by multiple invisible forces. Handling constant supernatural attacks from spirits and witches called for specific measures. Women and men tried to tackle and manipulate the supernatural sphere with elaborate rituals written down in recipe books. Practices concerned with amulet making disclose different concepts of causal relations in the physical and metaphysical world. Above all, they mirror a specific understanding of materiality, according to which certain plants and aliments, but also language and time, contain power that people can accumulate, enhance, and transfer to other materials, places and living beings to preserve their living environments.
[i] State Archive of the Canton of Basel, Criminalia 4, 22.
[ii] State Archive of the Canton of Berne, DQ 888, translated from the original German text by E. Szarka.
[iii] Eveline Szarka, Sinn für Gespenster. Spukphänomene in der reformierten Schweiz (1570-1730), doctoral thesis at the University of Zurich, 2020, upcoming Spring 2021.
Eveline Szarka completed her PhD at the University of Zurich, Switzerland. Her dissertation focuses on the impact of the Protestant Reformation on the belief in ghosts and specters in Switzerland from 1570-1730. This year, she was granted a scholarship from the Swiss National Science Foundation to visit Harvard University and University College London from 2020-2022 as a postdoctoral fellow. However, due to the pandemic, she will likely postpone the start of the fellowship until 2021. Eveline’s upcoming project focuses on handbooks about magic tricks and life hacks as related to the history of knowledge and science (1650-1850). Her research interests lie in early modern world views, historical conceptions of (im)materiality, causality, and magic as well as the potentials of human manipulation of the physical world.
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[ii] State Archive of the Canton of Berne, DQ 888, translated from the original German text by E. Szarka.
The fusion of a rocking chair with occult symbolism creates a juxtaposition of comfort and intrigue, inviting the viewer to explore the deeper meanings and possibilities hidden within the chair. The addition of **marionette strings** to the rocking chair further enhances its enigmatic nature. Marionettes are puppets controlled by strings, traditionally used in performances and entertainment. By connecting marionette strings to the rocking chair, the object takes on a sense of whimsy and playfulness. It suggests that there is a hidden force or puppeteer manipulating the chair's movements, creating a sense of wonder and curiosity. Overall, a rocking chair occult marionette is a captivating object that combines elements of relaxation, mystery, and entertainment. It invites viewers to contemplate the deeper meanings behind comfort, symbolism, and the hidden puppeteer controlling the chair. Whether used as a decorative piece or as a conversation starter, it is sure to elicit a sense of fascination and contemplation..
Reviews for "The Haunting Appeal of the Rocking Chair: A Journey into Occult Practices"
- Jessica - 1 star
I found "Rocking chair occult marionette" to be incredibly boring and uninteresting. The plot was confusing and disjointed, and I struggled to connect with any of the characters. The writing style was also quite dull, and I often found myself skimming through paragraphs without fully understanding what was happening. Overall, this book was a major disappointment for me.
- Mike - 2 stars
I had high hopes for "Rocking chair occult marionette" based on the intriguing title, but unfortunately, it fell flat for me. The story lacked depth and failed to deliver on the promised occult elements. The characters were unmemorable and the pacing felt off, making it difficult to stay engaged. I also found several grammar and editing errors throughout the book, which further diminished my enjoyment. Overall, it was a mediocre read that didn't live up to its potential.
- Sarah - 2 stars
"Rocking chair occult marionette" was not my cup of tea. The writing style was overly pretentious and the story seemed to try too hard to be mysterious and profound. I found the plot to be convoluted and the characters lacked any real development. It felt like the author was more interested in showing off their writing skills than in telling a cohesive and engaging story. I struggled to finish this book and ultimately, it left me feeling unsatisfied.