"Hand and Eye" by Tylor Gore
Moundville Mississippian ceremonial tablet, ca. 1500 a.d.
I've found myself returning to the often ubiquitous image of the "hand and the eye" in my art and imagination, and re-vamping some articles that concern it, so forgive me if I "repeat myself" for any who may be interested. I am always
mytho-archeology and
"artology" minded, but recognize that this image may seem esoteric to most. But if one is following the elusive trail of myth, metaphor, and archetype, those mysterious touchstones found along the path of synchronicity and art and dream.....read on.
I had a friend who is a collector of artifacts, and remember that she showed me what looked like a piece of thick shell, about 3"x 2", stained, carved into
the shape of a hand, incised to show the fingers and joints, and
with an eye and pupil in the center of the palm. A hole was drilled in the top of this medallion or amulet, presumably so it could be worn with a cord. Judith said she bought it at show from someone who came from Ohio.
Design engraved on Spiro shell; Hamilton, The Spiro Mound, 1952,
The Missouri Archaeological Society.
I was fascinated by this native American artifact, and found myself continually holding it. It seemed to emanate a kind of "clarifying" energy, and being curved, fit into the palm of one's hand. I don't have a photo of Judith's amulet, but the shell gorget above is from a similar source.
The "Hand and Eye" motif, like the
Spider with Cross, are found throughout prehistoric sites of the Mississippian peoples of the great river valleys, from Ohio to Alabama.
These people have also been called the Mound Builders, leaving behind mounds and burial chambers (in 2007 I visited
Wickliffe Mounds in Kentucky, and in 2015 I visited Mound State Park in Indiana, which features several massive circle mounds. It is located near Camp Chesterfield Spiritualist Center).
The awesome
"Serpent Mound" in Ohio has been associated with these ancient peoples.
For those unfamiliar, atop a plateau overlooking Brush Creek Valley,
Serpent Mound is the largest serpent effigy in the United States. Nearly a quarter of a mile long, it apparently represents an uncoiling serpent; its "head" may also represent an egg in the mouth of the serpent. It has been variously dated from about 1,400 years ago to as long ago as originating in 5,000 bc. It's also geomantically interesting that this ceremonial mound was built on the site of a ancient meteorite strike. Some scholars also believe it aligns with the summer solstices, and also with the constellation "
Draco", suggesting it was designed when the star
draconis alpha was the pole star.
Serpent Mound is certainly one of America's greatest archaeological mysteries.
At any rate, my fascination with Judith's artifact, an ancient sacred image once ubiquitous among the Americas. Judith's carved shell
Hand and Eye may well be 500 years old or older. Why did they wear it, engrave it in stone?
Variants of the Hand and Eye motif. a, b, c, Southeastern United States (after Waring and Holder 1945, Figs. 1, 7 a-c); d,Lienzo de Tlaxcala: 40 (after Seler 1902-23, Vol. 2: 569, Fig. 99).
What did this iconic image mean to these prehistoric people, who were the ancestors of the Cherokee and others? I am familiar with the "Hamsa", also called the "Hand of Fatima", a symbol used to ward off evil ( worn as an amulet, or over doors) in the Middle East, both by Muslim and Jewish peoples. This token is ubiquitous through the Arabic world, although it's meaning is undoubtedly different.
What does it personally mean to me, so that I am continually
finding ways to incorporate it into my artwork? Perhaps, to me it represents conscious mind in the works of our hands, in what we manifest. Beyond that, the Presence of God/dess, of the divine, the "one within the many", moving through the manifest creative and healing works of our hands, of our lives. An amulet not to avert evil, but to call forth the divine vision and creativity.
Does that make sense?
Here's an amazing "Hands with Eyes" mask made by artist
Dan Lyke, which I found on the fabulous web page
"Hand and Eye" created by
T.P. Kunesh, whose fascinating (and wry) website shows him to be a philosopher and visionary worth knowing. My great thanks to Mr. Kunesh for the images and commentary he provided me with.
"Hands Mask" by Dan Lyke at Burning Man (2000)
Here is some further information about the mysterious Mound builders of southeastern U.S. I have taken much of this information from the inspired writings of writer and Jungian psychologist
Frank Adair, MD, who resides in Redwood City, CA. I love one of his comments in particular about this symbol:
(The) inner Self has been likened to God or to "God within us". It has been called the light of nature that creates our dreams. Whatever "it" is called will involve some degree of projection limiting meaning. Somehow, the eye as symbol captures the pivotal point between the opposites, between the conscious and unconscious - where "the land meets the sea."
The hand adds richness to the symbol. Hands can build the bridge between our inner world and the external world...The hands are the mediators between spirit and matter, between an inner image and an actual creation. By handling, the existing energies become visible.
Large ceremonial centers were found in Moundville, Alabama, Etowah in Georgia, Spiro in Oklahoma and Cahokia in Illinois. These Mississippian mounds are the greatest sources of the artifacts of this culture. The mounds served as raised platforms for structures built of timber, mud and thatch. The eye, usually a simple oval containing a small circular pupil, is centered in the palm, and it's been suggested it symbolizes the hand and eye of the creator.
This famous disc has a hand pointing upward, and appears to be both sides of the hand (perhaps suggesting non-duality?) There are two knotted rattle snakes. (Being knotted, they could further suggest the forces symbolized by the snake as contained, controlled, or organized by the hand?). The meaning of this piece is ultimately unknown by archaeologists, but that it represents shamanistic power and/or deity is certain. ( see, Walthall, 1994).
As Dr. Adair points out in his article, the motif of the "eye in the palm" is found in paintings of the compassionate Bodhisattva White Tara of Tibet. He further points out that none other than the great mythologist
Joseph Campbell (1) has mused and written this about possible meanings of this particular Native American stone disc:
Interpreted in Oriental terms, its central sign would be said to represent the "fear banishing gesture" of a Bodhisattva hand showing on its palm the compassionate Eye of Mercy, pierced by the sight of the sorrows of this world. The framing pair of rattlesnakes, like those of the Aztec Calendar Stone, would then symbolize the maya power binding us to this vortex of rebirths, and the opposed knots would stand for the two doors, east and west, of the ascent and descent, appearances and disappearances, of all things in the endless round. Furthermore, the fact that the eye is at the center of the composition would suggest, according to this reading, that compassion is the ultimate sustaining and moving power of the universe, transcending and overcoming its pain. And finally, the fact that the hand is represented as though viewed simultaneously from back and front would say that this Bodhisattva power unites opposites.
Our picture depicts the dual aspects of psychic life which have been projected, since ancient times, as metaphysical realms. On the one hand, there is ordered consciousness symbolized by the regular appearance of the sun's "blazing eye;" on the other hand, there is the unconscious, a chaotic region of animal instincts, symbolized as "serpentine monsters" capable indeed of wrapping themselves around the ego and dragging it into its depths. Yet the American Indian projection preserves the fact that the unconscious is full of novelty and is a creative reality which can be harmonized with the structures of conscious living. That has been achieved aesthetically in our artifact. The image of a "hand" at the center reminds us that this beautiful piece was made by human hands and hints at the requirement of human effort if we are ever to unite the opposites within ourselves. Should what we say here be more than intuition, should it also be rooted in the facts of the psyche and in the requirement to withdraw projections, then sensation has also been served. Serving opposite functions and honoring the larger duality of the conscious and unconscious psyche is, then, the modest modern equivalent of the prayers, offerings, and correct ethical behavior of the Mound Builders. (1)
References (From Dr. Adair and others):
1 Campbell, J. (1990). The Mythic Image. Princeton, NJ: Princeton University Press.
Fundaburk, E.L. & Foreman, M.D. (1985). Sun Circles and Human Hands: The Southeastern Indians. Art and Industry. Fairhope, AL: American Bicentennial Museum.
Kunesh, T.P.
The Eye in the Hand, http://www.darkfiber.com/eyeinhand/
Walthall, J. (1994). Moundville: An introduction to the archaeology of a Mississippian chiefdom. Tuscaloosa, AL: Alabama Museum of Natural History.
Frank Adair, MD www.uroborus.com
http://www.tylergore.com/
The legendary logo of the Church of the Subgenius ("the all grasping hand of Bob")
Long ago ancestors lit fires to welcome the "shining god" who was the sun returning from mysterious underworld depths to bring the life giving Sun as the nights grew so long. They built stones or made circles or created doorways to be aligned with the sun's pathway. They lit fires as "sympathetic magic", fires to light and imitate the Sun's passage (which is why we still light candles, and Christmas lights, today, although no one remembers.........)
