"The occult technology of power" refers to the esoteric or hidden knowledge and practices that are believed to grant individuals or groups the ability to exert control, influence, or manipulate power on different levels. In occultism, power is understood to be a force or energy that can be harnessed and directed towards various goals or agendas. One aspect of the occult technology of power is the understanding and manipulation of spiritual or metaphysical forces. Occult practitioners may engage in rituals, ceremonies, or practices intended to tap into these forces and harness them for specific purposes. These purposes can range from personal transformation and enlightenment to influencing the outcomes of events or even gaining control over others. Another component of this occult technology lies in the use of symbols, sigils, and talismans.
Exactly where and when block printed talismans were introduced into the medieval Islamic realms—and by whom—is uncertain. Contemporary literary accounts are exceedingly rare and even then they are cryptic and provide less than unequivocal proof that some sort of “printing” was being carried out. 4 The earliest date for the introduction of block printing into the Islamic world would appear to be the late fourth/tenth century, given the textual and epigraphic evidence available. Ibn al-Nadīm’s bio-bibliographical work, the Fihrist, from that time mentions Egyptian magicians who used “stamps” (ḥawāṭim) 5 although to what purpose is not made explicit therein. Elaborate Kūfī script, which dates to the early centuries of Islam, is employed in some of the oldest Qurʾans and on early Islamic public buildings. It is also found in many block printed amulets and this has been adduced as evidence of an early origin for them.
The use of amulets by inhabitants of the Middle East predates Islam and evidence for the sharing of amulets among Jews, Christians, and Muslims after the advent of Islam is quite plentiful. Thankfully, armour skills are not hardcoded into this, so if talismans start getting new skills then this tool works just fine without the need for an update.
Another component of this occult technology lies in the use of symbols, sigils, and talismans. In occultism, symbols are considered to carry inherent power and meaning. Occult practitioners employ these symbols in rituals, visualizations, or as amulets to access and direct particular energies or forces.
Chapter 7 The Material Nature of Block Printed Amulets: What Makes Them Amulets?
The use of amulets and talismans to invoke divine protection, to enhance one’s innate abilities, or to improve chances of fulfilling a desire seems unbound by time or culture. Amulets have varied widely in form and nature, ranging from found objects or assemblages of found objects to elaborately constructed documents that may include graphic, numerological, and textual elements. 1 These features appear to be culturally determined, with some amulets and talismans found to be unique to one culture or civilization while other closely related groups may share amuletic elements, symbols, or even content. Moreover, within a given culture, the forms of amulets and talismans as well as their content may change over time, due to both internal and external influences. This is to say that new societal or social circumstances might require new forms or formulae of protection, for example.
The use of amulets by inhabitants of the Middle East predates Islam and evidence for the sharing of amulets among Jews, Christians, and Muslims after the advent of Islam is quite plentiful. 2 Handwritten amulets had been a feature of Islamic culture since its inception. Invocations for divine assistance or protection took many forms, including the use of mystical or magical symbols, magic squares using either letters or numbers, and combinations of letters understood to have “inherent” occult power. 3 In the medieval Islamic period, one of the most significant changes to occur with regard to the creation of textual amulets was the adoption of block printing to produce them. Presumably, the ability to create more than one copy of any given amulet met a need that obtained among the population of those who were “consumers” of such things. Material evidence for the employment of block printing to create amulets is increasingly abundant.
Exactly where and when block printed talismans were introduced into the medieval Islamic realms—and by whom—is uncertain. Contemporary literary accounts are exceedingly rare and even then they are cryptic and provide less than unequivocal proof that some sort of “printing” was being carried out. 4 The earliest date for the introduction of block printing into the Islamic world would appear to be the late fourth/tenth century, given the textual and epigraphic evidence available. Ibn al-Nadīm’s bio-bibliographical work, the Fihrist, from that time mentions Egyptian magicians who used “stamps” (ḥawāṭim) 5 although to what purpose is not made explicit therein. Elaborate Kūfī script, which dates to the early centuries of Islam, is employed in some of the oldest Qurʾans and on early Islamic public buildings. It is also found in many block printed amulets and this has been adduced as evidence of an early origin for them.
The latest example is the only one that can be dated with any certainty. That piece, currently held by the Gutenberg Museum in Mainz am Rhein, bears a partial watermark that indicates that the paper upon which the text is printed was made in Italy around 1405 (see Fig. 7.6). Thus, Arabic block printing spans a period of somewhat less than four centuries after which time its practice appears to cease without explanation. There is no suggestion that block printed amulets displaced handwritten ones, for the latter continued to be produced and used during that time and indeed people request them even today.
As to the question of who was responsible for introducing block printing technology to the medieval Islamic world, the answer remains elusive. One theory holds that knowledge of the technology came to Egypt via textile trade with India where cloth was decorated with block printed designs. 6 The other possibility is that block printing followed the same path from China that papermaking took into the Islamic realms in the second/eighth century. 7 Some research conducted on medieval Islamic society points to the involvement of a rather amorphous, shadowy, and peripatetic group called the Banū Sāsān. 8 Members of this group were known to engage in the creation of amulets which may have been block printed. 9 If this is so, then the argument for an Indian origin for Arabic block printing is strengthened because the ancestry of the Banū Sāsān can be traced to India. 10 Having said this, no incontrovertible evidence for either position has been found.
The source of the vast majority of the surviving examples of medieval Arabic block printing, which now number nearly one hundred, 11 appears to be Egypt, where dealers in the late nineteenth and twentieth centuries sold them to European travellers and scholars who were prowling the country in search of ancient artefacts of all kinds. Other examples appear to have come from elsewhere in the medieval Islamic world. 12 Whatever the locus of their creation, the vast majority lack an archaeological pedigree and their origins must therefore be deduced from other clues. 13 Today, Arabic block prints are found in the collections of museums and libraries from Qatar to California and there is no doubt that more will come to light in the years ahead.
This innovation—if such it may be considered—raises several questions relating to the use and acceptance of printed amulets and of amulets in general. Do block printed amulets differ from handwritten amulets in terms of their content or form? Were printed amulets perceived to be less or more efficacious than those handwritten by people considered to have ‘special relationships’ with the divine or the supernatural? Most intriguing perhaps: What was the impetus behind the application of printing technology to the creation of amulets? While these questions have no definitive answers at this point, this paper will attempt to point out possible directions future investigators might want to pursue.
Given the almost total lack of contemporary accounts about the introduction, practice and technological development of block printing in medieval Islam, much remains unknown about this activity. Barring the discovery of a detailed—or even a general—description of the creation of block prints or their creators, their material aspects may be the best remaining evidence for an understanding of them and their role in the Islamic societies of the time. We do know that block printing was put to many uses. A stamp bearing the name “al-Imam al-Ḥākim” 14 lies in the Taylor-Schechter Collection at Cambridge University. A second example of block printing for mundane use is a stamp bearing three lines of text from Almería, Spain. This block print shows the term qaysarīya, a sort of warehouse where commercial goods were stored. 15 It appears to have been used as a mark indicating ownership of property or perhaps as proof that commercial items entering the city had been assessed the required tax. 16 Yet a third class of block prints is pilgrimage certificates, a cache of which was found in the Umayyad Mosque in Damascus in 1893 and subsequently published by the scholars J. Sourdel-Thomine, D. Sourdel, 17 Şule Aksoy and R. Milstein. 18 These documents date from the fifth/eleventh to the eighth/fourteenth centuries and range in style from simple text to elaborate combinations of script and illustration. From this evidence, it is clear that amulets represent but one of several applications of block printing in the medieval Islamic world. Judging from the number of surviving examples of all block prints, one might conclude that amulets constituted the primary activity, but the survival of a greater number of amuletic block prints may be due to factors such as being encased in protective containers, treatment not afforded to other types of block printed texts. Unfortunately, for only one of these categories of block prints has a printing matrix survived 19 and that one is not for an amulet.
This is to say that one must look to the amulets themselves for clues. For example, it is understood that these block printed amulets were, almost without exception, carried on one’s person. Does the paper, therefore, exhibit the marks that one associates with its having been folded or rolled in such a manner that would indicate that it had been placed inside a hollow metal pendant or a leather pouch which was then hung around a person’s neck or in some other way worn on the body? 20 Many of the amulets do indeed carry fold marks indicating that they were intended to be placed inside a container of some sort. Proof for this may be found in at least two collections. A block printed amulet acquired by the Agha Khan Museum was found inside a small metal container 21 and images of three additional block printed amulets from the Tonegawa Collection 22 exhibit both the metal containers and amulets with folds. It is clear from the size of the containers and the marks on the paper of the amulets that these were items meant to be borne on one’s person. Finally, it should be pointed out that many of the block printed amulets bear the phrase “Man ʿalaqa ʿalayhī hadhā al-kitāb …” (“Whosoever hangs upon himself this writing …”) or some variation thereof, providing convincing proof for their purpose and mode of use. 23
The recent discovery by Gideon Bohak of a twelfth-century sheet of paper containing handwritten multiples of an amulet against scorpion stings suggests that the idea of mass producing amulets with a specific object or containing a specific protection was not a new one. 24 His research further indicates that multiple copies of amulets had been produced for some time and in a variety of media. To proceed to the employment of mechanical means to achieve the same result, in the manner of striking coins or imprinting repetitive designs on fabric or stucco, seems to us at any rate to be a logical step. And the Arabs had been involved in the creation of those items, to which the numismatic, architectural, and textile evidence of those times readily attests.
In basic terms, block printed amulets are constituted of the same materials as their handwritten cousins: paper and ink. They differ in that the ink has been applied to the surface of the paper not with the nib of a pen, but by a printing block onto which a text has been carved or incised in reverse (see Figure 7.1). The use of printing blocks to create textual amulets also permitted the inclusion of elaborate designs, decorations, and combinations of script styles. The significance of such features remains unknown at this point but I shall suggest some interpretations later.
Thankfully, armour skills are not hardcoded into this, so if talismans start getting new skills then this tool works just fine without the need for an update. This also means that you can type whatever words you want for talisman skills for testing purposes. It also means that it supports other languages, BUT the decoration data will still be in English unless you go into the files and edit that yourself.
The specific symbols chosen, as well as the intentions behind their use, are believed to amplify the desired effects. Furthermore, the occult technology of power often involves the study and mastery of various metaphysical systems, such as astrology, numerology, and divination. These systems are viewed as tools that allow practitioners to gain deeper insights into the hidden forces at play in the universe and, consequently, to predict or shape events with greater precision. The occult technology of power has historically been associated with secret societies, such as the Freemasons, the Rosicrucians, and various magical orders. These organizations are believed to possess specialized knowledge and practices that enable their members to wield power and influence in ways that are not accessible to the general public. It is worth noting that the occult technology of power is a controversial and often misunderstood subject. While it may hold allure for those seeking personal empowerment or supernatural abilities, skeptics view it as nothing more than superstition, fantasy, or even manipulation tactics. Still, for those who believe in its efficacy, the occult technology of power represents a profound exploration of the hidden potentials of the human mind and spirit..
Reviews for "Ascending the Ladder of Power: The Occult Technology of Ascension"
- Jenny - 2 stars - I was really disappointed with "The occult technology of powre". The author promised to provide insight into occult practices and how they can be used to empower individuals, but instead, it was just a mishmash of random ideas and vague explanations. The book lacked structure and clarity, making it difficult to understand and follow. Overall, I felt like it was a wasted opportunity to delve into a fascinating topic.
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- Sarah - 2 stars - I found "The occult technology of powre" to be quite frustrating. The concepts discussed were poorly explained, and the author seemed to assume that the reader already had a basic understanding of occult practices. I struggled to grasp the main ideas behind the book and had to rely on external sources for clarification. Additionally, the writing style was convoluted and difficult to follow, further hindering my understanding. Overall, I felt like this book was not accessible or helpful for beginners in the occult.