Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
S
o
l
o
m
o
n
w
i
t
h
t
w
o
a
t
t
e
n
d
a
n
t
s
;
c
h
u
r
c
h
o
f
D
b
r
S
i
n
a
n
e
a
r
G
o
r
g
o
r
a
;
w
a
l
l
p
a
i
n
t
i
n
g
,
e
a
s
t
e
r
n
w
a
l
l
;
m
i
d
-
1
7
t
h
c
.
(
c
o
u
r
t
e
s
y
o
f
P
a
u
l
H
e
n
z
e
)
.
234 witold witakowski and ewa balicka-witakowska
F
i
g
.
4
A
.
S
o
l
o
m
o
n
o
f
f
r
i
n
g
i
n
G
i
b
e
o
n
;
D
b
r
M
a
r
q
o
s
,
w
a
l
l
p
a
i
n
t
i
n
g
,
f
i
r
s
t
a
m
b
u
l
a
t
o
r
y
;
1
9
t
h
c
.
(
c
o
u
r
t
e
s
y
o
f
M
i
c
h
a
e
l
G
e
r
v
e
r
s
)
.
solomon in ethiopian tradition 235
F
i
g
.
4
B
.
J
u
d
g
e
m
e
n
t
o
f
S
o
l
o
m
o
n
;
D
b
r
M
a
r
q
o
s
,
w
a
l
l
p
a
i
n
t
i
n
g
,
f
i
r
s
t
a
m
b
u
l
a
t
o
r
y
;
1
9
t
h
c
.
[
i
d
e
m
.
]
.
236 witold witakowski and ewa balicka-witakowska
The early examples depict only the main events contained in the text of
the Glory of the Kings: the circumstances of Makedas visit to Solomon,
their meeting and the queens departure to her fatherland. The further
development of the pictorial narrative went in two directions. First, the
illustration of a Tigrean folk tale of the hero killing a snake and identified
as Meneliks father was added at the beginning, creating a kind of intro-
duction. Later, this prolongued account received an epilogue based again
on the Glory of the Kings and depicting the story of Menelik, his birth, visit
to his father and return to Ethiopia with the Ark of the Covenant. From
this tripartite suite of pictures, the classical format of painting emerged,
with 44 scenes displayed in four rows, each depicting 11 episodes. The
scenes are separated from each other by the frames, which also provide a
background for a text in Amharic describing each event depicted.47
Besides the multipictorial representations of the legend, there are pic-
tures having a single scene as their subject. For instance, a piece belonging
to the American Museum of Natural History (acq. 19.1/6173) depicts Solo-
mon and Makeda banqueting, while another one in the Basel Museum
of Ethnology shows the arrival of Makeda before Solomon (nr. 12849),
and a painting in Londons Hornimans Museum (nr. 19.4.66/20) depicts
Makeda giving Solomon a golden chain.48
The magical texts connected with Solomon and written on magic scrolls
are often illustrated with the figure of the king and with the representa-
tions of the devices he was using for magical activities and for subduing
demons. The most common are the ring bearing the seal of God, Solo-
mons Knot and, more rarely, a labyrinth and a mirror.
As in the the religious representations in most of the magic scrolls, the
king appears clad in full royal attire and flanked by the attendantsthe
elements that emphasize his majesty49despite the fact that in this con-
text it is his abilities as a magician that are in demand. Sometimes, his
crown is ornamented with crosses in accordance with the conception that
Solomon was the antitype of Christ. The idea, which in Ethiopia was ini-
tially transferred by the Glory of the Kings,50 clearly emerges from a picture
belonging to a scroll in the Littmann collection (Berlin, Deutsche Staats-
47Cf. some examples in colour in: Fisseha and Raunig 1985, figs 1,2,8,9; Mzgb Seelat
(n. 39), MG-1995.003:016-026.
48Mzgb Seelat (n. 39), MG-1995.003:009.
49Cf. for instance the scrolls IES nr. 182, Mercier 1979, nr. 11; Mainz Universittsbibli-
othek, aeth. 38 and aeth. 38, Wagner 1967, 725 and figs. 7,8; Berliner Museums, Ms. 4066,
Jger 1966, fig. 16.
50Chapter 66, cf. above n. 3.
solomon in ethiopian tradition 237
bibliothek, Ms. Or. Oct. 4068). Solomon is represented twice, once as the
king of Israel wearing a horned crown and flanked by the vessels of the
Jerusalem temple, and the second timein horizontal mirror inversion
wearing the crown topped by a cross and flanked by two other crosses.
Two half-figures of the king are divided (or joined) by three faces, which
have been interpreted as two angels and one evil spirit.51 Two cephalic
snakes or dragons that enclose his bust are most probably a variant of a
picture, common in Ethiopian magic books and scrolls, representing the
Lamb of God bearing a cross and encircled by two serpents.52
In Ethiopian scrolls, Solomon may be represented in a conceptual way.
Strongly geometrical figures with rayed face and dominated by large eyes
on the scroll in Addis Ababa, IES nr. 293,53 are interpreted as representing
the king sitting on his throne. Crosses flanked by heraldic birds are visible
on his chest at the top of his head and in the upper part of the picture,
perhaps an allusion to a legend of Solomon, known, for instance, from
an Arabic version, which tells that the king mastered the language of the
birds.54 The similar picture in the scroll Paris, MAAO nr. 34 even includes
a demon bearing the throne of the king.55
Among Solomons legends that circulated in the East, one tells of the
labyrinth which the demons built for the king where he kept his harem.
An Ethiopian version of the story adds that Sirak the Wise entered it by
an underground passage and seduced one of the kings concubines.56 The
picture of the labyrinth appears in some Ethiopian scrolls understood as
a protected place where the owner of the talisman cannot be charmed by
evil spirits. Usually, at the top of these drawings, the king is represented
in half figure flanked by the courtiers, while below there is his labyrinth,
the entry to which is either guarded by lions or locked by a seal, as for
instance, in the scroll Paris, MAAO nr. 4.57
The magic texts containing asmat and lotat have as a background
the story of Solomon when he was captured by the blacksmith kings, but
was able to vanquish them by pronouncing the sacred names of God, the
topic which entered the Net of Solomon.58 In some magic pictures, the
51 The picture is labelled by the inscription: Slomon rs bin [sic!]Solomon wise
head; a reproduction in colour in: Mercier 1979, nr. 27.
52On this motif cf. Rodinson 1992, 131, fig. 83; Mercier 1997, 54 fig.
53Mercier 1979, nr. 11.
54Decourdemanche 1880, 83106; cf. also Wagner 1967, 725 and fig. 8.
55Rodinson 1992, 134, fig. 85.
56Mercier 1979, 29; Rodinson 1992, 135.
57Mercier 1997 (private collection); Mercier 1979, fig. 15 (Paris, MAAO nr. 4).
58Euringer 1928, 81f.
238 witold witakowski and ewa balicka-witakowska
tale is only alluded to by representing the king flanked by demonic eyes
(Paris, MAAO, nr. 12).59 In others, the story is depicted in details, as in
one bearing the inscription How Solomon killed the kings of the smiths
(Paris, MAAO, nr. 44).60 This shows the mounted king hurling spears at
the demons armed with swords, with two of them already hit. They are
rendered as human beings but with faces presented in profile.61
An oral tradition transmitted by Ethiopian clerics tells of how Solomon
drew portraits of the summoned demons and collected them in a book.
This was taken to Ethiopia by his son Menelik and used to depict demons
in a protective scroll. These portraits are considered to be as effective as
the spells because the bad spirits confronted by them felt exposed and
fled.62 It is believed that many pictures of demons that illustrate the
texts written in the scrolls originate from this source. The tradition has
a counterpart in the text of the Mirror of Solomon, where the names of
the demons uttered by Solomon function as the means to uncover their
personalities and evil deeds.
The magic sign called the Seal of Solomon and mentioned in the Tes-
tament of Solomon was well known in the Roman East and the Orient. An
Ethiopian legend tells that it was the seal of God engraved on a ring that
Solomon received from the Archangel Michael. This was the most power-
ful device in the kings possession for subduing demons and forcing them
to carry his throne, to help him in trading gold and building the labyrinth.
The picture of an eight-, six- or five-pointed star with a face in its centre
that appears in several Ethiopian scrolls is often understood as the Seal
of Solomon.63 Its variant, extremely popular, is known as the Knot of
Solomon and was also a device to catch demons. It was widely used as a
decorative motif but also as an apotropaic sign. Some Ethiopian magical
pictures show a demon already caught in a knot.64
Judging from the frequency of Solomons depictions in sacral art and in
the magic scrolls, it is clear that in Ethiopia the king was recognized first
as a magician and then as a biblical and holy figure.
59Mercier 1997, 48, fig. 40; Rodinson 1992, pl. 11.
60Mercier 1979, 38f; Rodinson 1992, pl. 7f.
61A common way to represent the negative persons and the bad spirits in order to
diminish the power of their gaze.
62Mercier 1997, 49f; 1979, 29; the depictions cf. nrs. 13, 14, 2426, and Rodinson 1992,
pls. 42, 4550, 143151.
63About this motif and its transformation cf. Wagner 1967, 725f; Mercier 1975, 143146.
64Mercier, 1979 nr. 45 and nr. 35; Paris, MAAO nr. 5; Rodinson 1992, pl. 18.
solomon in ethiopian tradition 239
Bibliography
* Abbreviations:
IES: Addis Ababa, Institute of Ethiopian Studies.
MAAO: Paris, Muse National dArt dAfrique et dOceanie.
Balicka-Witakowska, E., Le psautier thiopien illustr de Belen Sgd, in: Imagines Medi-
evales (Ars Suetica 7), 146, Uppsala 1983.
, 198486, Un psautier thiopien illustr inconnu, Orientalia Suecana 3335: 1748.
, 2004, The Liturgical Fan and Its Ethiopian Examples, Rocznik Orientalistyczny 57/2:
1946.
, Makdda in art, in: S. Uhlig (ed.), Encyclopaedia Aethiopica, 3: 679681, Wiesbaden
2007.
Bezold, C., Kebra Nagast: Die Herrlichkeit der Knige...mit deutscher bersetzung (Abhand-
lungen der Bayerischen Akademie der Wissenschaften 23), Mnchen 1905.
English: The Queen of Sheba and Her Only Son Menelik, E.A.W. Budge (trans.), London 1922.
Polish (partial), Kebra Nagast czyli Chwala krlw Abisynii, S. Strelcyn (trans.), War-
szawa 1962.
French: La gloire des rois (Kebra nagast): pope nationale de lthiopie, G. Colin (trans.),
Genve 2002.
Norwegian: Kebra Nagast, Rolf Furuli (trans.) (Verdens hellige skrifter), Oslo 2007.
Chernetsov, S.B., fiyopskiye magicheskiye svitki: opt filologo-tnograficheskogo issledo-
vaniya, Avtoreferat dissertatsii na soiskaniye uchenoy stepeni kandidata istoricheskikh
nauk, Leningrad 1974.
, Asmat, in: S. Uhlig (ed.), Encyclopaedia Aethiopica, 1: 381, Wiesbaden 2003.
Cornill, C.H. (ed.), Das Buch der weisen Philosophen nach dem Aethiopischen untersucht,
Leipzig 1875.
Decourdemanche, J.A., 1880, Salomon et les oiseaux: Lgende populaire turque, Revue de
lHistoire des Religions, 2: 83106.
Euringer, S. (ed. & trans.), 1928, Das Netz Salomons: Ein thiopischer Zaubertext, nach
der Hs. im ethnographischen Museum in Mnchen, Zeitschrift fr Semitistik und ver-
wandte Gebiete 6: 76100; 178199, 300314; 7 (1929) 6885.
French in: Enseignement de Jsus-Christ ses disciples et prires magiques, R. Basset
(trans.) (Les apocryphes thiopiens traduits en franais 7), 2630, Paris 1896.
(ed. & trans.), 1937, Der Spiegel Salomons: Ein abessinisches Amulett, Zeitschrift der
Deutschen morgenlndischen Gesellschaft 91: 162174.
Fisseha, G. and W. Raunig (eds.), Mensch und Geschichte in thiopiens Volksmalerei, Inns-
bruck 1985.
Gamst, F.C., Judaism, in: S. Uhlig (ed.), Encyclopaedia Aethiopica, 3: 303308, Wiesbaden
2007.
Griaule, M. (ed.), Le livre de recettes dun dabtara abyssin (Travaux et mmoires de lInstitut
dethnologie 12), Paris 1930.
Grierson, R. (ed.), African Zion: the Sacred Art of Ethiopia, New Haven CT and London 1993.
Guidi, I., [Breve] Storia della letteratura etiopica (Pubblicazioni dellIstituto per lOriente),
Roma 1932.
Jger, O., 1966, thiopische Zauberrollen und ihre Bilder, Baessler Archiv, neue Folge 14:
139180.
Kaplan, St., Solomon, in: S. Uhlig (ed.), Encyclopaedia Aethiopica, 4: 687688, Wiesbaden
2010.
Lfgren, O., 1962, thiopische Wandamulette, Orientalia Suecana 11: 109116.
, Der Spiegel des Salomo: Ein thiopischer Zaubertext, in: Ex orbe religionum: Studia
Geo Widengren...oblata, I, 208223, Lugduni Batavorum 1972.
Marrassini, P., Kbr ngt, in: S. Uhlig (ed.), Encyclopaedia Aethiopica, 3: 366, Wies-
baden 2007.
240 witold witakowski and ewa balicka-witakowska
Mercier, J., 1975, Les peintures des rouleaux protecteurs thiopiens, Journal of Ethiopian
Studies 13: 107146.
, Rouleaux magiques thiopiens, Paris 1979.
, Art that Heals: The Image as Medicine in Ethiopia, New York 1997.
Pietruschka, U., 2002, Das Maf flasfa biban und sein Verhltnis zu griechischen
und arabischen Gnomensammlungen, Aethiopica 5: 139155.
, Flasfa biban: Maf flasfa biban, in: S. Uhlig (ed.), Encyclopaedia Aethiopica,
2: 485486, Wiesbaden 2005.
Raunig, W. (ed.), LArt en thiopie, Milano 2005.
Rodinson, M., 1964, roulaux of Ullendorff, Ethiopia, Bibliotheca Orientalis 21: 238245.
, Comment un roi isralite est devenu un magicien universel, in: Le roi Salomon et les
matres du regard: Art et mdecine en thiopie, [catalogue of the exhibition] Muse national
des arts dAfrique et dOcanie, 20 octobre 199225 janvier 1993, 132135, Paris 1992.
Staude, W., 1954, Die Profilregel in der christlichen Malerei thiopiens und die Furcht vor
dem Bsen Blick, Archiv fr Vlkerkunde 9: 116161.
Strelcyn, S., Prires magiques thiopiennes pour dlier les charmes (Mfte ry), War-
szawa 1955 (= Rocznik Orientalistyczny 19).
, La magie thiopienne, in: Atti del Convegno Internazionale di Studi Etiopici (Roma
24 aprile 1959) (Accademia Nazionale dei Lincei: Problemi attuali di scienza e di cul-
tura, Quaderno 48), 147165, Roma 1960.
, 1972, Catalogue of Ethiopian Manuscripts of the Wellcome Institute of the History
of Medicine in London, Bulletin of the School of Oriental and African Studies. University
of London 35: 2754.
Sumner, Cl., Ethiopian Philosophy, 1: The Book of the Wise Philosophers, Addis Ababa 1974.
Ullendorff, E., Ethiopia and the Bible (The Schweich Lectures, 1967), Oxford 1968.
, Ethiopia: An Introduction to Country and People, Oxford 1973.
, The Queen of Sheba in Ethiopian Tradition, in: J.B. Pritchard (ed.), Solomon and
Sheba, 104114, London 1974.
Wagner, E., Die Illustrationen der thiopischen Zauberrollen der Sammlung Littmann, in:
Der Orient in der Forschung: Festschrift fr Otto Spies, 706732, Wiesbaden 1967.
Wion, A., 2001, Un nouvel ensemble de peintures murales du premier style gondarien: Le
monastre de Qoma Fasilds, Annales dthiopie 17: 279308.
Worrell, W.H., 1910, Studien zum abessinischen Zauberwesen, Zeitschrift fr Assyriologie
24: 5986.
Wright, W., Catalogue of the Ethiopic Manuscripts in the British Museum Acquired since the
Year 1847, London 1877.
THE IKHWN A-AF ON KING-PROPHET SOLOMON
Jules Janssens
The Ikhwn a-af, the Brethren of Purity, are famous for their ency-
clopaedic work, entitled Rasil, Epistles. However, many mysteries have
always surrounded and continue to surround their specific identity and
their place of origin. Nevertheless, there are serious indications that their
main activity has to been situated at the end of the tenth century or, at the
latest, in the first half of the eleventh. Among these are two contemporary
sources that provide us the names of some of their members.1 These names
all point in the direction of Basra, Iraq, which therefore constituted their
likely place of origin, or, at least, their mean activity centre. Furthermore,
although the Brethren nowhere reveal which Muslim creed they adhere
to, Yves Marquet, one of the twentieth centurys leading scholars on the
Brethren, offers good arguments in favour of identifying it with Ismailism.
Although the Ismailis formed a minor group of the Shia, at that time they
were very active and somewhat influential.2 Anyhow, the Brethren were
clearly not narrow-minded, and did not hesitate to take information from
a wide range of sources, whether Islamic or not. In Epistle 45, On the man-
ner of social interrelations between the Brethren of Purity, they explicitly
mention four kinds of sources of their knowledge:
1.philosophical books (on mathematics and natural sciences)
2.revealed books (Torah, Gospel, Quran)
3. the books of nature (on the forms of the figures of all existing things,
celestial or terrestrial)
4. the divine books (on the soul and its purification) (R IV:42,743,8).3
It is striking that they distinguish between theoretical (12) and practical
(34) knowledge, and that within this division they make a further distinc-
tion between natural (1 and 3) and supernatural (2 and 4). However this
does not correspond to the actual division of their encyclopaedia into:
1Baffioni 2005, 450.
2Marquet 1985, 5779.
3References are to the edition of Bustn 1957, repr. 1983 (using the abbreviation R
followed by the numbers of volume, page and lines).
242 jules janssens
a mathematics (14 chapters, including applied mathematics, but also the
division of the sciences, morals, and logic)
b. corporeal-natural investigations (17 chapters, including the usual natu-
ral sciences, but also on Man as microcosm, on human knowledge, on
death and life, and on the origin of the difference of languages)
c. psychological-intellectual investigations (10 chapters, on such different
issues as rational entities; the world as macranthropos; love; resurrec-
tion; motion, and definition)
d. (natural) divine laws and the revealed Law (nmsiyyat ilhiyyat wa-l-
shariat; 11 chapters on diverse beliefs, including considerations on the
kinds of spiritual states and on magical phenomena).
This quick survey shows that the encyclopaedia covered a wide variety of
themes, yet structurally lacked rigorous logical coherence. In this respect,
it comes as little surprise that the Brethren evoke in different contexts
the Biblical-Koranic figure of Solomon. As we will see in what follows,
they offer a picture, several aspects of which exceed the strict data of the
Biblical and/or Koranic stories.
To begin, certainly not surprising, at least from an Islamic point of view,
is the fact that the Brethren, in epistle 42, On opinions and beliefs, present
Solomon both as a king and a prophet: Know that God has assembled in
prophet Muhammad both the characteristics of kingship and prophecy as
He had united them (already before) in David and Solomon, as well as in
the veridical Joseph (R III: 496, 13). One easily detects that this affirma-
tion has a direct source in the Qurans references to Solomon (Sulaiman),
e.g., twice in lists enumerating different prophets, i.e., Q. 4,163 and Q. 6,84
(to which one might add Q. 21,7882, the larger context being the suras
title The prophets), and in Q. 27,34, where he is presented as a king
(the context being the story concerning the queen of Sheba).4 However,
the Brethren do not limit themselves to simply reaffirming the Koranic
characterisation; rather, they use it in order to defend the authenticity
of Muhammad as a prophet. Since this question [i.e. whether someone
can be at once king and prophet] is problematic for the Jews and the
Christians, they opposed and doubted Muhammads prophecy after they
4Regarding David and his prophecy, see the same references; as to his kingdom, see
e.g. 38,2021. Regarding Joseph, his name is present in the list of prophets of Q. 6,84. He
is not properly called a king, but is assigned a high function at court (see Q. 12,4101, esp.
verses 5457). Note however that verse 100 makes mention of raising his (i.e., of Joseph)
parents on the throne (my italics).
the ikhwn a-af