The potency of the written word is exemplified in a range of African arts associated with Islam. These arts, such as beautifully written books, wood writing boards, regimental flags and amulets, all have a common thread: they are inscribed with Arabic writings from the Koran, Islam's sacred book. Because the Koran contains the words of Allah (God), Moslem adherents from an early age are taught to read, write and recite Sura, or passages from the Koran. As God's words, these passages are both powerful and poetic, and they are imbued with the capacity to inspire, to heal and to protect.
Paper and cloth amulets, called hatumere in much of West Africa, are inscribed with Koranic Arabic and created by religious specialists and healers. They are often made to order for specific clients seeking spiritual and other assistance and to ensure success in one's endeavors. While specific passages from the Koran may be used, amulets may also be inscribed with geometric designs, pseudo-Arabic inscriptions, and other non-figurative embellishments that suggest a synthesis of earlier animistic beliefs and the Islamic faith that superseded it. Particularly potent designs include magic squares and the winged horse al-Buraq, the Prophet Muhammad's steed that is often depicted with the head of a woman and the tail of a peacock. The mystical horse was said to have carried the Prophet on a night journey from Mecca to Jerusalem and then to the gates of heaven.
Paper amulets may be worn folded and encased in a leather pouch, worn around the neck or attached to clothing, or placed in a decorative silver container fashioned into a necklace or armlet. Rather than wearing the amulet, the owner may prefer to soak it in water and then wash with the water to ensure protection and good fortune. Certain amulets may also be kept by specialists to serve as models for those they make for their clients. The amulets offer portable and convenient ways for the faithful to remain close to God's words throughout the day.
Description:
Single-sided amulet on lined paper depicting a winged horse drawn in reddish-orange, purple, blue and black inks. A checkerboard pattern ornaments the four legs of the animal and portions of the wings. The animal's head is left undecorated and without features or distinguishing marks. Arabic-style writing in black ink is inscribed on the available spaces around the figure. A double-lined border runs around the bottom and sides of the work.
Provenance:
Simon Ottenberg, Seattle, Washington, acquired Sierra Leone, 1980 to 2003
Exhibition History:
Inscribing Meaning: Writing and Graphic Systems in African Art, National Museum of African Art, Smithsonian Institution, May 9- August 26, 2007; Fowler Museum at University of California, Los Angeles, October 14, 2007-February 17, 2008
African Islam, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 29, 1983-April 22, 1984
Kreamer, Christine, Mary Nooter Roberts, Elizabeth Harney and Allyson Purpura. 2007. Inscribing Meaning: Writing and Graphic Systems in African Art. Washington, D.C.: Smithsonian Institution; Milan: 5 Continents Editions, p. 95, no. 7.7c.
Prussin, Labelle. 1986. Hatumere: Islamic Design in West Africa. Berkeley, Los Angeles and London: University of California Press, p. 99, no. 4.16 c.
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