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Obj. ID: 54007  Shemirah le-Yeled ule-Yoledet, Ramleh, circa 1960

© Gross Family Collection, Photographer: ,Bar Hama, Ardon,

1 image(s)

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Name/Title
Shemirah le-Yeled ule-Yoledet | Unknown
Object Detail
Date
circa 1960
Synagogue active dates
Reconstruction dates
Artist/ Maker
Unknown (Unknown)
Historical Origin
Unknown
Community
Unknown |
Location
Unknown |
Site
Unknown
School/Style
Unknown|
Period
Period Detail
Gross Family Collection No.
027.011.278
Material/Technique
Paper, Colored Ink,
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Density
Colors
Construction material
Measurements
Height: 27.6 cm, Width: 36.6 cm
Height
Length
Width
Depth
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Thickness
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Weight
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Panel Measurements
Hallmark
Condition
Extant
Documented by CJA
Surveyed by CJA
Present Usage
Present Usage Details
Condition of Building Fabric
Architectural Significance type
Historical significance: Event/Period
Historical significance: Collective Memory/Folklore
Historical significance: Person
Architectural Significance: Style
Architectural Significance: Artistic Decoration
Urban significance
Significance Rating
Description

The following description was prepared by William Gross:

From earliest times, man has tried to protect himself from misfortune by the use of objects which he considered holy or otherwise (e.g., magically) potent. Amulets and talismans are Items generally worn around the neck or wrist, carried in a pocket or purse or hung on a wall. They are meant to protect or aid those who carried or wore them. The Hebrew word for amulet, kame‘a, has the root meaning "to bind". Jewish amulets are usually comprised of texts (either letters or graphic symbols) that are inscribed on some sort of material; some may also contain plant matter or precious stones. The texts of amulets usually include holy names that are believed to have the ability to affect reality, along with incantations summoning angels or other magical powers. For the most part, an amulet has a specific purpose: to ease childbirth, facilitate recovery from illness, improve one’s livelihood, and so on, but in the modern world many are also made for general protection.

Printed amulets that could serve the purpose of hand-written talismans began to appear in the late 17th century, continuing into the 18th and 19th centuries. The few surviving examples from this period are of European origin. The appearance of such printed amulets in North Africa did not occur until the 20th century simply because of the late establishment of printing houses in that area. But when the printing began in Morocco, Algeria, and Tunisia, a variety of such amulets were printed, particularly those for the protection of mother and child. The textual elements and form were by and large copied from Central and East European printed amulets. These include the invocation of Adam and Eve and the Patriarchs and their wives, the mention of Lilith, the names of the angels Sanoi, Sansanoi and Samangalaf, the text of Psalm 121 and the story of Eliyahu meeting Lilith.

A copy of the type of birth amulet printed in Tunis. This one is also an advertisement for a pair of brothers who are Mohalim who have immigrated to Israel and continue the traditions of the country they left. In Tunisia also such amulets were used as advertisements as in an example in the Gross family collection in which the advertisement is for a Patisserie.

Most Tunisian birth amulets for a male child were made in this large, horizontal format divided into three sections. The central third of the page basically copies the Habsburg-type printed birth amulet from Central Europe. The centrality of the image of the hamsa emphasizes its importance as the carrier of protection. The sections on the right and left are local additions with blessings for the Brit and other texts. This amulet is printed in red, a color that adds its own amuletic power to the page. The depiction of the fish adds the nuance for success and plenty. The text mentions that the amulet is based on the tradition of the Ba'al Shem Tov. The printing in green ink differentiates this sheet from most of those printed in Tunisia, which were rendered in red ink. They were all printed by the Uzan press, a firm that was the main Jewish printer in Tunis for many decades.

Custom
Contents
Codicology
Scribes
Script
Number of Lines
Ruling
Pricking
Quires
Catchwords
Hebrew Numeration
Blank Leaves
Direction/Location
Façade (main)
Endivances
Location of Torah Ark
Location of Apse
Location of Niche
Location of Reader's Desk
Location of Platform
Temp: Architecture Axis
Arrangement of Seats
Location of Women's Section
Direction Prayer
Direction Toward Jerusalem
Signature
Colophon
Scribal Notes
Watermark
Binding
Decoration Program
Summary and Remarks
History/Provenance
Main Surveys & Excavations
Bibliography
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Architectural Drawings
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