We want to harness the divine power to provide protection for us and our loved ones. To bring God closer is simply an extension of our mitzvah relationship. We attempt to concretize that relationship with the Ineffable by capturing the Name, as it were, and inscribing it on a parchment, and bringing it close to us in a kame'ah, an amulet.

At The Judaica Museum in Riverdale there is a fascinating and singular exhibition of more than fifty amulets that explore our desire for protection from Hashem. Many are in the Judaica Museum's extensive Baum Collection while others are on loan from other collections and artists. One of the amazing facets of this exhibition is that the amulets date from the fourth century right up to today, allowing the show to reach deep into a living ancient tradition. This exhaustive survey throughout history presents us with three distinct views of the exciting world of Jewish amulets as formulated by the exhibition curator, Francesca Bregoli.

The majority of the exhibition is historical, tracing the main kinds of amulets through the ages. It starts with the very rare lamella. It dates from the 2nd-4th century of the Common Era and is inscribed in Aramaic on thin silver. This lamella was meant to be rolled up and placed in a tubular case that could then be worn or hung where needed. There are a number of amulets from Italy that exhibit the classic Italian Baroque design models. They are known in the Italian Jewish tradition as Shaddai from the powerful name of God engraved on the covers. The designs incorporate the Jewish themes of the Menorah, Priestly hands blessing, and the Levite washing basins as a visual means of "reminding" God of the mitzvot we continue to do. In recognition of this we hope he will protect us with his great power in our times of vulnerability.

We see amulets from Morocco, North Africa, and Persia. The Shiviti amulet and the Chamsa are represented in traditional and contemporary forms. One amulet is in the form of a knife shaped pendant, silver and from the 18th century. It was possibly meant to be hung in a room where a woman was giving birth. We can see the surface engraved with angelic names in an attempt to summon celestial help at this time of danger. Nearby there is a heart shaped amulet in silver that is engraved and worked with filigree. It is inscribed with the 42 letter Name of God and "Blessed be His glorious Sovereign Name for ever and ever." In addition it pleads "I long for your Salvation, oh Lord (Gen.49:18)." The desires of the women who used this amulet hundreds of years ago are still with us today. Protection during childbirth and for a defenseless newborn are prayers we still utter. Yet another pendant is in the shape of a triangle of hanging Arabic coins, with the bottom of the triangle a gold tube that contains a amuletic inscription inside. Now we suddenly notice that many of these use precious metals like silver and gold and; (especially from Middle Eastern countries) utilize coins. Why?

Your will see in the second portion of this exhibition a further exploration of the use of precious metals and stones. It is where the amulets start to operate in a sphere akin to jewelry. I believe that the use of precious and beautiful materials has a unique and central role to play in amulets. We are utilizing the living relationship we have with God and are in effect saying; "We shall adorn your Name and our pleas toYou. This person that needs your protection and help is precious to us and we adorn them too with gold and silver and gems. See how much value we place on this child or on this woman that is in Your need. Oh, Master of the Universe, please protect our precious loved ones." All rare and expensive objects have inherent power. We hope that this power will summon the ultimate power from above. Exhibited is an amuletic necklace with three pink Carnelite stones engraved with a verse from Genesis 49:22; "A charming son is Joseph, a charming son of the eyeÉ"This piece strives to combine the power of a red stone and a verse of the Torah as protection against the Evil Eye.

Finally the curator has included a number of contemporary works that operate in what might be called the amulet consciousness. Prominently featured in this section are seven works by the contemporary Jewish artist, Ita Aber. Her works are meant to function as a combination of protective body ornaments and jewelry. She utilizes amulet boxes, coins and colored stones in her wearable art that summons strong associations with amulets of old. There are other contemporary works, including a stained glass Chamsa by David Nulman from a design by Tsirl Waletzky, showing the continuing vibrancy of this art form.

There are a number of textile works and conceptual pieces utilizing holy names, letters or images that while they are rooted in contemporary art, reach into the amulet tradition for their imagery and power. Bernard Bernstein, Michael J. Berkowitz, Carol Hamoy, Loren Stein and Samantha Verrone are represented with works that transform an ancient practice into contemporary Jewish art.

This exhibition enlightens and challenges our assumptions about an ancient plea to our God for protection. Our needs have not changed. Rather our response is more complex in our Jewish practice. And yet the emerging Jewish art shown here is addressing these basic and timeless issues of human need and the search for the Divine. It is certainly a worthwhile search we could all join them in.

Richard McBee
March 27, 2001

Richard McBee is a painter of Torah subject matter and writer on Jewish Art. He is active in the American Guild of Judaic Art (jewishart.org) and the Young Israel of Fifth Avenue. Please feel free to email him with comments at mcbee@escape.com.