NOT an eye in hand.

and actually a symbol of a most rare type of North American anticyclonic (clockwise) tornado.

El laberinto del fauno

por Guillermo del Toro

A Mão de Deus por Marianne Peretti 1994

Sala do Tribunal Pleno, Superior Tribunal de Justiça, Brasília, Brazil

Muitos agradecimentos a

Marcellus Lima em Brasília.

Kahlil Gibran "the Divine World"

one "of the gibranean visions (1908-1914)"

thanks for pointing this out, dgb

a spoof on this site by a friend

What does it mean? The pancultural Eye-in-Hand icon manifests the integral and interactive bond between two essential human functions: sensing/observation (the Eye) and doing/acting (the Hand). Together these two abilities represent the most effective symbolic condensation of the ideals of human existence - omniscience (all-knowing) and omnipotence (all-powerful) - in a very simple two-part icon: the Eye in the Hand.

tpk 21feb00

"Originating in the Middle East the Hand represents God's "Protective-Hand," and the blue Eye on it shields its owner from the curse of the Evil Eye. The Hand's positive energy draws happiness, riches and health.

A talisman charms against the Evil Eye take different forms in each culture where the belief is common. In Turkey and adjacent areas of Greece (eastern Mediterranean and Aegean), the 'evil Eye' is conceived of as blue, Thus, in order to repel or prevent the effect of 'evil Eye', a reflective "Eye" of blue glass is used."

Eye	sensing	knowledge	omniscience
Hand	doing	power	omnipotence

enter your email address here. This will only be used for email regarding this site.

    have eyes

        in their fingers.

                    - european? proverb

                        Ballast Quarterly Review summer 1999

Lameck Bonjisi

Zimbabwean sculptor

of Vampire Hunter D

A parasitic entity in the shape of a human face on D's left hand.

- from the website

The Movie: Characters: LEFT HAND

Ros '05

TYLER C. GORE

WWW.TYLERGORE.COM

Tyler Gore is a graphic designer and a writer who features this hand-eye symbol prominently on his site.

"I've been intrigued by the hand-eye symbol since I was a kid, although I never actually explored its wide distribution and meanings. I think I first encountered it in a Sinbad movie (The Golden Voyage of Sinbad ca. 1974?) at a drive-in, which has a scene featuring a girl with an eye tattooed on her hand. But I've been drawing it since I was a small kid."

coat of arms

CRUX SCUTEM

latin:

crux = cross

scutum = shield

Barbara Hodgson . fiction . 1995 . 120 pp

An illustrated short novel about a woman

who notices a strange mark on her hand

as she is traveling through Morocco.

The mark slowly gets bigger and starts

to resemble a map, which leads her on a

frightening journey through the country.

Written in the form of a journal,

this is an intriguing mystery,

unraveled in the desert towns

of North Africa.

merci à M. Radun de Toronto

1882-1940

In September both sculptors went to look at an outdoor site on the Sussex Downs, near to Gill's home at Ditchling, as the possible location for a large outdoor temple dedicated to the primitive life force of mankind, which was to consist of huge standing stones of nude figures carved by them both. Gill drew the device of a Hand with an open Eye set in its palm in his diary against the date of 11 November 1910, the morning after he had had a meeting in London about this project with Epstein and Augustus John. Gill wrote to William Rothenstein about this scheme of 'doing some colossal figures together (as a contribution to the world) a sort of twentieth-century Stonehenge' and Rothenstein replied with enthusiasm ... "

by Judith Collins (Overlook Press 1998)

thanks to Mike W. for the reference

White Tara, Goddess of Compassion, the Divine Mother

detail - 4 of her 7 eyes (3 in her head, 2 in the palms of her hands, and 2 in the soles of her feet),

White Tara / Weiße Tara Dharmapala Thangka Centre, Tibetan Buddhist School of Thangka Painting

Sage Woman 2003 Calendar: Blessings from the Hands of the Goddess

List Price: $12.95 (Amber Lotus ISBN: 1569373213; Wall edition July 2002)

SageWoman, the best-selling magazine of women's spirituality, joins with Amber Lotus to create a new level of excellence in Goddess art and inspiration. The 2003 SageWoman Calendar presents portraits of 12 goddesses whose blessings enrich and empower women in their everyday lives. The calendar features six goddess artists who are widely considered the most accomplished and well-loved artists in the field, including Katlyn Breene, Joanna Powell Colbert, Marcia Snedecor, Sandra Stanton, Tanya Stewart and Kris Waldherr.

Accompanying each image is text by Lunnaea Weatherstone, priestess and writer, who weaves a tapestry of wisdom and wit that illuminates the common threads of sacred feminine energy worldwide. Each month offers seasonal themes, folklore, festivals and much more - adding up to 365 ways to celebrate the Goddess in every woman.

"the legendary All-Snatching & All-Looking Hand & Eye of Bob"

Icon, Universal Church of the Subgenius Triunfante, official global purveyor of three-layered Slack®

by Lydia J. Hess

_The 1995 Creative Illustration Book_

(Black Book Marketing Group: NY 1995) p 351

Lydia J. Hess - LydiaHess.com

Portland, Oregon USA

[ the spiral-in-the-Hand is considered a healing Hand

- see below and again ]

Log Cabin Studio

in Rolling Stone,

October 12, 2000

"NetBook.rs" p11,

for "The Private Obsessions

of Bob Barr,

Culture Warrior"

by Erika Casriel

Dan Lyke at

          the Burning Man 2000 & 2002

   > are those -your- hands?

    Yep. Roughly. Traced onto redwood and carved from there.

      The seeing

        have hands

          in their eyes.

            - dicho nevadaño

by Raymond J. L. Walters

"Front cover photograph: Ancient Art & Architecture Collection (Eye on Hand)" back of duskjacket

Ancient Art & Architecture (AA&A) Collection Ltd

410-420 Rayners Lane - Suite 7, Pinner, Middlesex HA5 5DY

United Kingdom Phone: 44-208-429-3131 Contact: Michelle Jones

library@aaacollection.co.uk http://www.aaacollection.com

$19 - Amazon.com Price: $13.49, 160 pages, Chartwell Books / Carlton Books; ISBN 1858687292 (July 15, 2000) Paperback; ISBN 0785806423 (October 1996) Hardcover Printed in Italy

"Raymond J. Walters explores how humankind has used and exploited these stones throughout the ages and across the world, not just for their beauty, but also the magical powers many believe they possess."

in Body Guards : Protective Amulets & Charms by Desmond Morris

hardcover, 224 pages (October 1999) Element; ISBN 1862045720 list price: $30, amazon.com: $21

"In over forty years of traveling and studying the human species, Desmond Morris, author of The Naked Ape, has noticed that everywhere he has been, people always have some kind of lucky charm, protective amulet or talisman. The form it takes varies from country to country and culture to culture, but in each place the favorite charm is treated very seriously and endowed with helpful, magical properties. Sometimes it is meant to protect its owner from bad luck, sometimes its meant to bring good luck. Always there is a fascinating history or symbolic background to the talisman. In Bodyguards, Desmond Morris shares his life-long fascination with the universal human belief in the power of charms and amulets to protect from evil and bring the bearer luck. Beautifully illustrated throughout with full-color photographs of more than one hundred amulets from his own collection, Bodyguards provides an account of the traditions and mythology behind these amulets, charms, talismans, symbols and sayings, sharing their fascinating history and stories explaining why they have become so popular."

Protective Hand amulet in traditional

Middle Eastern filigree style.

Height 29 mm

GP311G - 14k gold $100

GP311S - sterling silver $26

Copyright © 1994, 1995 - Macom Networking

Jewish Communication Network:

Rosh Hashanah Holiday Gift Ideas: Hamsa

"The universal symbol called Humsa by the Hindus is a powerful protection amulet in Asia and is often called the All Seeing Eye of Mercy.

In Tibet it is used for banishing fear and oppression.

This same symbol was also used by Native Americans.

In the Middle East it was called the All Seeing Eye of God and the Eye of Maat, and was thought of as a great protector."

all-seeing Eye

All-seeing protector

Made of fine lead-free pewter

Central Casting95

engraved stone disk "Rattlesnake Disk." Sun circle, Hand and Eye, and entwined snake design carved on a circular sandstone disk found at the prehistoric site of Moundville, Alabama. Moundville, Moore, 1905, fig. 7.

Stone Pallete, plate 93

Ceremonial disk found at Moundville, Alabama

with rattlesnake and Hand and Eye design;

12.5" diameter (Courtesy, Alabama Museum

of Natural History).

- Sun circles and human hands: the southeastern Indians - art & industry edited by Emma Lila Fundaburk & Mary Douglass Foreman, Southern Publications, Fairhope, Alabama 1957,1985

Rattlesnake Disc - The rattlesnake disc is probably the most famous item found at Mound State Monument. We have no explanation for the meaning of the designs on the face of this 12.5 inch disc. It is thought that the rattlesnakes bound at two points mean war. The Hand with the Eye in the center probably represents those of the creator. Since no other disc is so elaborately inscribed, archaeologists have reason to believe that this disc was one of great importance and was probably used in religious and/or war ceremonies.

- display placard at Mound State Monument, Moundville

Perhaps the Mississippian Hand-and-Eye design represents a crystal held in a man's Hand, symbolizing the ability to see into the future, although this interpretation must remain conjectural until other evidence presents itself.73 p 169

note 73: James Howard has suggested that the Hand and Eye design had something of the meaning the Hand design had for the Plains Indians in more recent times. Namely, that it was associated with warfare, and that it might have meant, as among the Omahas and Dakotas, that the warrior wearing it had been struck or wounded by the enemy (Southeastern Ceremonial Complex, 29-34). LIke the anomalous feathered serpent, the use of the Hand and Eye design also occurs in the art of the Northwest Coast and in Mesoamerica, with some similarity to art motifs in China during the Shang and Early Chou dynasties. Cf. Robert L. Rands, "Comparative Notes on the Hand-Eye and Related Motifs," American Antiquity 22 (1957):247-57. p 516

-- Charles Hudson, The Southeastern Indians, University of Tennessee Press (Knoxville 1976) chapter 3: The Belief System

Almost 50 years ago, Clarence B. Moore* called attention to the presence of "the symbol of the open Eye on the open Hand" in both the Southeastern United States and Mexico (Moore 1907: 346). The design has achieved some renown as one of the motifs characterizing the so-called "Death Cult" in the Southeast and has also continued to be cited as an indication of Middle American connections (for example, Phillips 1940: 356). Rather little has been done in following up Moore's observation through detailed comparative studies between the 2 areas. Recently, however, Schuster (1951), and following him, Covarrubias (1954), have touched upon the Hand and Eye motif in these regions as part of a larger problem -- that of cultural connections between the Old World and the New. They have noted the existence of eyelike forms on the Hand in the art of various American cultures, extending in a broken distribution from Peru (Schuster 1951, Fig. 82) to the Northwest Coast (Schuster 1951, 16-17; Covarrubias, 1954: 35, 190, Fig. 56). The same writers have presented extensive datga which would seem to indicate a connection of the Hand and Eye with various markings, including faces and nucleated cirles, on the joints of arms and legs (see also Schuster 1952; Seler 1902-23, Vol. 2: 955-6).

It is not the purpose of the following remarks to consider the more far-flung of these correspondences. The comments, rather, are an expansion of a paper given before the Eleventh Southeastern Archaeological Conference at Moundville, Alabama, in November, 1954. As such, their point of departure is the eastern United States, with particular reference to the art of the Southern Cult. Nevertheless, the culture areas from which comparative material is drawn, Mesoamerica and the Northewest Coast, must be asknowledged by any but an arch diffusionist to be geographically remote. No implication is made that the various art forms to be discussed are necessarily related historically.

To give additional perspective to the specific comparison which follow, it should be noted that, in Southeastern art, hands lacking an Eye at the palm have been cited as showing Mexican affiliations. Moore (1907: 346) made comparisons with the severed Hand as depicted in Mexico, and more recently particular attention has been directed to similar subjects, strongly Moundville-like in character, at Tazatlán in Tlaxcala (Griffin 1949: 97; Noguera 1927; Marquina 1951, Fot. 34; Moore 1905, 1907). Mention might also be made of the Moundville-like aspects of one of the Classic Veracruz yokes, which shows the human radius and ulna stripped of flesh but attached to a Hand from which the flesh has not been removed (Proskouriakoff 1954, Fig. 2, Yoke 13; Moore 1905, Fig. 147). A description relating to the Aztec is very suggestive of the Southeastern Death /end 247/begin 248/ Cult in this general connection. The passage is from Sahagún and deals with the war god, Uitzilopochtli: "And the cape ... was designed with skulls, with the palms of hands, with hip bones, ribs, legs, the lower arm bones, and with the outlines of feet" (Anderson and Dibble 1950-54, Bk. 2: 69).

Fig. 1. 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).

In their paper on the Southern Cult, Waring and Holder (1945) illustrate several variations on the Hand and Eye motif (Fig. 1). The Eye is occasionally replaced by a cross in a circle or by an ellipsoidal to rectangular element. These forms usually occur at the palm of a Hand which is extended downward, although examples are not wholly lacking in which the back of the Hand is shown or the Hand is opened upward (Moore 1905, Figs. 7, 173).

The Hand and Eye design in Mexico cited by Moore is shown in Figure 1 d. It is from the Lienzo de Tlaxcala -- again Tlaxcala appears as a place where the Hand is emphasized in Southeastern fashion -- and dates from shortly after the Spanish Conquest. A shield is depicted, decorated as a grotesque face. Two detached hands are placed over the area of the eyes in such a way that an Eye is showing through the palm of the each Hand. The hands are extended upward, not downward as is usually the case in the Southeast. Additional examples occur of this Mexican version of the Hand and Eye motif. On a stone teponaztli (drum) in the Museo Nacional, horizonally [sic] extended hands appear on a grotesque face (Fig. 3 a). The hands overlie the eyes, which show through the palm of each. A tenoned stone hacha in the Museo de Oaxaca is reproduced as Figure 2. With lid clearly visible, an Eye this time is showing through the back of an open Hand. Fingers upward, the Hand once again is detached and placed against the face at the region of the Eye. A pattern thus existed in Mexico for the Hand to be superimposed over some facial feature, with this anatomical feature showing through the Hand. In the Mexican codices, numerous examples occur of the Hand over the mouth, the outline of the lips appearing against the Hand. In some instances the lips and teeth are completely surounded by the the Hand (Codex Borgia: 48), in this respect being identical to the Eye as illustrated in Figures 1 d, 2, and 3 a. In other codex portrayals, the indentation of the lips forms part of the hand's profile (Fig. 3 b). The latter treatment seems to occur in the art of the Southern Cult (Fig. 3 c). Phillips (1940: 356) calls attention to "the Hand on jaw" as one similarity between the Southeast and Mexico.

Fig. 2. Thin stone head or hacha, Oaxaca (?) (after Seler 1902-23, Vol. 2:363, Fig. 110 a).

The Hand and Eye symbol in Aztec Mexico was not restricted to examples in which an Eye shows through a superimposed Hand. An apparent variant of the motif (Fig. 4), perhaps mainly associated with the earth monster, shows fangs in conjunction with the eyes and locates these profile faces on hands, feet, elbows, and knees. The faces, and particularly the eyes, tend to be so placed as to lie on the wrist and ankle, rather than directly on the palm of the Hand or the sole of the foot. Schuster (1951, Figs. 43, 44) illustrates 2 examples of the earth deity whose joints are overlaid with these grotesque faces; similar forms appear in Nicholso (1954, Figs. 3, 4), Proskouriakoff (1954, Fig. 9 e), and Peñafiel (1910, Pls. 51, 72, 74). That the nucleated circles at the region of the hands and feet in these representations are to be identified as eyes is indicated by their near identity in treat- /end 248/begin 249/ ment to the eyes of the associated skulls. Compare also the eyes in Figure 1 d. Moreover, a 16th century French source states "... the goddess of the earth, Tlatechutli ... had eyes and mouths at every joint, with which she shapped like a savage beast" (Jonghe 1905: 28, quoted in Schuster 1951: 16).

Fig. 3. a, sculptured face, identified as Aztec god Macuilxóchitl (after Castañeda and Mendoza 1933, Pl. 13); b, head of the Mexican god Macuiltochtli (after Seler 1902-23, Vol. 2:488, Fig. 37); c, head of a sheet-copper eagle, Dunklin County, Missouri (after Moorehead 1932, Fig. 8 a); d, arm of human figure on engraved shell gorget, Spiro, Oklahoma (after Burnett and Clements 1945, Pl. 60); e, Maya day sign Manik, Chichén Itzá, Yucatán (after Thompson 1950, Fig. 7, 44); f, Maya glyph (prefix with haab completed), Piedras Negras, Guatemala (after Thompson 1950, Fig. 5, 43); g, Maya glyph for completion, Copán, Honduras (after Thompson 1950, Fig. 25, 39).

The Aztec wind god Quetzalcoatl is also shown with faces at his knees, a detached Eye appearing at each elbow (Schuster 1951: 16; Seler 1902-23; Vol. 2: 955, Fig. 3). The placing of eyes on the elbows corresponds to Figure 3 d, from Spiro, Oklahoma. At Spiro it is the forked Eye, one of the motifs of the Southern Cult, which overlies the elbow, the Eye itself being centered on the elbow joint. The design not only offers a specific corespondence to Mexican material but suggests that, in the eastern United states, an association existed between eyes and joints. Adena* designs on the Lakin A and Gaitskill tablets (Figs. 5, 6), which are thought by Webb and Baby (1957) to be the prototype of the Hand and Eye motif, may be compared. In these designs, nucleated circles occur at the joints of highly stylized figures -- apparently at the shoulder, hip, elbow, ankle, and wrist. Rather than being placed at the wrist joints, however, the circles could sometimes be thought of as occurring directly on the "hands" or "bird feet" -- an impression which is especially pronounced in Figure 6. It may be noted that the use of nucleated circles in the Adena designs offers another correspondence to Mexican art forms (compare Figs. 1 d, 4, 5, 6). Finally, mention may be made of a nucleated circle silhouetted at the "palm" area of a sheet mica eagle foot in Hopewellian art (Shetrone 1930, Fig. 62). While the sample is small, the available data suggest the possibility that, in the eastern United States, there was a late substitution of the realistic Eye for the nucleated circle as a marking to be associated with joints or hands. In earlier times, perhaps, the emphasis was on the marking of joints, in Cult art on the direct association of the Hand and Eye. Willey (1948) discusses other treatments accorded the back of the Hand, knuckles, and wrist on a pre-Cult horizon in the Southeast. It would seem that considerable elaboration of art motifs may have been taking place, rather than a simple linear development.

[ * The Adena culture was a conglomerate of many Indian communities that inhabited the Central and Southern regions of Ohio in the first millennium BC. The Adena people lived in villages and survived by hunting, fishing and gathering wild plants. Although the Adena culture survived for many centuries (500-100 BC), much of what we know of them today is drawn from mounds.

Their location on the Ohio River provided them an accessible passageway to and from New York, Pennsylvania, and southern Illinois. Many Adena artifacts have been found in these regions. Their location had many resources and supplied them with the copper and mica that they traded. The Adena culture is also distinguished by their siltstone smoking pipes. These pipes are fine examples of prehistoric Indian art. The building of the mounds began around 500 BC.

-- from http://campus.northpark.edu/history/WebChron/NorthAmerica/Adena.html ]

Fig. 4. Sculptured Aztec earth monster (after Covarrubias 1954, Fig. 8). Fig. 5. Lakin A tablet, West Virginia (after Webb and Baby 1957).

A nucleated circle, composed of rather widely spaced concentric lines, occurs frequently in connection with the Hand in Maya hieroglyphs. The element usually appears on the back of the Hand, at the area of the wrist (Fig. 3 e). Occasionally, however, the design is shifted to the back, or possibly the palm, of an extended Hand (Fig. 3 f). Correspondences with these glyphs my be noted in the eastern United States, that is, the Adena joint markings and the Cult Hand and Eye motif. (In the latter connection, compare especially variations on the order of Brown 1926, Fig. 279). The normal position of the circle at the wrist in the Maya glyphs suggests that a joint mark may have been the basic concept, rather than a marking on the upper part of the Hand. Nucleated circles are present both in the Adena and Maya motifs. Comparisons, then, are closer to Adena than to the Hand and Eye in the Southern Cult. Within Mesoamerica as a whole, the basic forms of the Maya hieroglyphs were established on a horizon considerably preceding known occurrences of the Hand and Eye motif. The marking of a wrist with a nucleated circle is present in a sizable body of glyphs. It might be argued, therefore, that in Mesoamerica wrist markings were earlier than the direct assocation of the Hand and Eye, at least as a favored art form. In any event, extant examples of the /end 249/begin 250/ Hand and Eye motif apparently cluster on a late (Aztec) horizon; the earliest illustrated (Fig. 2) presumably dates from the Classic period. Tenoned and sometimes perforated or portraying the skull, the Oaxaca type of hacha seen in Figure 2 tends to have specialized features provisionally associated with the Late Classic horizons (Proskouriakoff 1954: 79-80; Seler 1902-23, Vol. 2: 363, Figs. 104-110 b). It has been seen, in the art of both Mexico and the Southern Cult, that at times the Hand was superimposed on some portion of the face, so that the Eye or the mouth showed through the Hand. A partial analogy is suggested in another Maya glyph (Fig. 3 g), where a Hand is so placed on the jaw that the outline of the thumb coincides with that of the lower lip (compare Fig. 3 b, c). Thompson (1940: 132) points out that in this glyph (zero or completion) the Hand is connected with death, thereby corresponding to its association in Mexico -- as also in the Southeast. The association of death elements with a Hand having ellipsoidal markings is also present in the glyph reproduced in Figure 3 f (compare Thompson 1950, caption to Fig. 5, 43-5). As indicated, the encircled cross substitutes for the Eye at the palm of the Hand in certain Southeastern designs (Fig. 1 c). Partially comparable forms exist in Maya hieroglyphic inscriptions and art. (1) Clenched hands occur with crossed bands set against the palm (Fig. 7 a; Thompson 1950: 40, Fig. 51, 4). Not only is the Hand clenched and held upward, thereby differing from Southeastern examples, but the X-shaped design formed by the crossed bands differs in detail from the cross-in-circle. (2) In the Maya glyph for west, the kin (sun) sign sometimes apprears as an infix in the Hand (Fig. 7 b, c; Thompson 1950: 251, Fig. 41, 18, 19, 21, 33). Again the Hand is clenched. Moreover, the kin element appears at the back of the Hand, toward the wrist, rather than in the palm. In Figure 7 c, however, the variant of /end 250/begin 251/ the kin sign, somewhat approaches the Southeastern cross-in-circle in appearance (Fig. 1 c). It is apparent that the correspondences just cited are not truly specific ones. Their function (glyphic versus more purely decorative or, at best, grossly symbolic) is of course in sharp contrast. In the various designs, nevertheless, the Hand is associated with perhaps related elements: a so-called "comic symbol" (Fig. 1 c), sun sign (Fig. 7 b, c), and possible segment of an astronomical band (Fig. 7 a). Conceiveably, then, there could be a common concept involved which finds expression in these somewhat divergent forms.

Figure 8 illustrates a compound wooden mask of the Kwakiutl Indians, from the Northwest Coast. To the left, attached to an arm, a 4-fingered Hand extends upward. At the palm of the Hand is a rectangular element with rounded corners, very comparable in appearance to that found in identical position in the art of the Southern Cult (Fig. 1 b). To the right appears an element which may be an Eye in the palm (or back) of the Hand. The Hand is so placed that the supposed Eye occurs over the region in which the mask's Eye would normally appear. If an Eye is actually depicted this placement is striking indeed, in view of the Mexican examples in which an Eye shows through a superimposed Hand (Figs. 1 d, 2, 3 a). On the other Hand, the bent arm with /end 251/begin 252/ rounded, boneless appearing elbow finds a close correspondence in the previously cited Adena designs (Figs. 5, 6). Compare the "hocker" motif of Covarrubias (1954: 34, 190, Figs. 5-9, 51-5).

A brief consideration of certain aspects of Northwest Coast art may be in order, in view of the correspondences between the designs shown on the Kwakiutl mask and the Hand-Eye motif in the Southeast and Mexico. Boas (1927: 253) notes that in Northwest Coast art, "The Eye design appears in a variety of forms ranging from a large double Eye to a circular pattern with black center." Exemplified in Figure 7 g, the latter treatment agrees genearlly with the supposed Eye in Figure 8 and to a design, shown on the foot of a bird, in Figure 7 d; compare Boas (1927) Figures 191, 192, 244, 166 g. Compare further the nucleated circles which mark bird feet on the Adena tablets (Figs. 5, 6). Boas (1927: 252) also describes the Eye design as consisting of "a round or oval field ... commonly so placed that it corresponds to the location of a joint." Accordingly, it often appears at the wrist, as well as the shoulder, hip, and ankle or, in the case of the whale, at the base of the tail or dorsal fin. As a nucleated circle, the "Eye /end 252/ begin 253/ design" is sometimes considered to be a cross section of the ball and socket joint (Fig. 7 d). The "Eye design" is not only substituted for the joint (Fig. 7 e) but occurs in the mouth of an animal, at the tail or wings of birds, and as decorative fillers (Boas 1927: 158, 204, 252-3).

The so-called Eye appears, therefore, in a wide variety of contexts in the art of the Northwest Coast, and once a process of elaboration such as would tend to bring this about was under way, it might be a fairly simple matter for the design to be shifted from the wrist joint to an area roughly centered on the palm of the Hand. ...

Fig. 8. Compound Kwakiutl mask (after Hodge 1907-10, Pt. 1: 814).

Fig. 9. a, painted Tlingit box (after Boas 1927, Fig. 276); b, woodpecker, Moundville, Alabama (after Waring and Holder 1945, Fig. 4 e) c, Tsimshian painting representing an eagle (after Boas 1927, Fig. 241).

Fig. 10. Haida tattooing representing a duck (after Boas 1927, Fig. 226).

-- Robert L. Rands, "Comparative Notes on the Hand-Eye and Related Motifs", American Antiquity 22 (1957):247-57 (Center for Archaeological Investigations, Southern Illinois University, Carbondale IL; retired 1990)

*"Clarence B. Moore (1852-1936), a wealthy Philadelphia socialite, paper company heir, and photographer made the archaeology of the Southeast his passion beginning in the 1870s." - Jeffrey M. Mitchem

The Hand and Eye Motif (image from "Certain Aboriginal Remains of the Black Warrior River" by Clarence B. Moore, Journal of the Academy of Natural Sciences of Philadelphia 13:125-244, 1905.)

Fragments of designs engraved on Spiro shells;

various cult symbols (All these are after Hamilton,

The Spiro Mound, 1952, and reproduced, courtesy,

The Missouri Archaeological Society.)

Fig. 84, C.V. Stone collection.

The prehistoric Indian site of Moundville, Alabama, is located on the Black Warrior River in Hale County. More than two dozen truncated earth mounds were built there by the Indians. The first extensive excavation at this site was directed by Clarence B. Moore. It was recorded in the Journal of the Academy of Natural Sciences of Philadelphia, which published two volumes dealing primarily with Moundville. They were, Aboriginal Remains of the Black Warrior River. ... 1905 (BWR) ...

Skull and Hand and Eye; about 3-1/2" wide, on entire side of cup (BWR-62 and 63). Bone, Hand, skull, cross, arrow-type object, and star in oval (BWR-147).

Designs after Clarence B. Moore and the Alabama Museum of Natural History collection, Mound State Monument, Moundville, Alabama. These are not tracings; they are only quickly made free-Hand drawings, but they are closely representative, and show the variety of typical cult designs and combinations of designs used at Moundville.

Various bands of designs with cult symbols including the Hand, bone, and skull symbols. (These include, Moore, BWR 22, 63, 147, 153, and MR 45, 46.)

Various bands of designs showing the ogee or open Eye (or female symbol?)

Hopewell Hand of mica

The Hopewell were a later group of Native people who lived in

what is now Ohio from around the year 1 to 700 c.e., built large mounds,

and represented a greater refinement over the earlier Adena culture.

Haida Eye in Hand design

The Haida live on the Queen Charlotte Islands

(Haida Gwaii) and in the southern part

of southeast Alaska.

source: http://www.clubi.ie/lestat/ofgodsk.html

Modoc Indian War in California and Oregon lava beds, 1872-73

More on the Modoc: go to http://www.tpl.lib.wa.us/cgi-win/fulltcgi.exe/Modoc_War|indian.bat\modoc.war

http://emayzine.com/lectures/nwtribes.htm

The Eye-in-Hand is an old and still popular apotropaic amulet for protection from the evil Eye. Combining the imagery of Greek and Turkish blue Eye charms with the downward-facing Arab and Israeli hamsa Hand, the Eye-in-Hand is common in India and the southern Mediterranean region.

The three modern Eye-in-Hand amulets shown here are 3/4 of an inch to one inch in length. From left to right they are:

• A sterling silver Eye-in-Hand amulet from Israel in which the Eye is replaced by a domed piece of burgundy-coloured glass; it was bought at a head shop in Berkeley, California, in 1995.
• A carved bone Eye-in-Hand amulet from India, bought from Indian immigrants at a flea market in Oakland, California, in 1996. When asked what it was used for, the seller said, "To protect."
• A sterling silver amulet in which a blue Eye of lapis lazuli has been displaced above the Hand and the Hand itself reaches down to touch a five-petaled flower (perhaps a potentilla species) and what may be ocean waves or mountain peaks. The country of origin is unknown; it was bought at a new age cosmetics shop in Sebastopol, California, in 1995.

Jainism: Jain Principles,

Tradition and Practices

The Hand implies "abhaya mudra", ie, no fear.

The word inside is "ahimsa" - non-violence.

The chakara implies dharma.

- Professor Yashwant K. Malaiya 8 Jan 2001

Computer Science Department, Colorado State University

in the movie "Netherworld"

with the Ouidjat - Eye of Horus

drawn on its palm,

flies through the air

and strangles a bad guy

Netherworld (1991) http://e1.eonline.com/Facts/Movies/0,60,24804,00.html   1981-1997 Videolog. All rights reserved.

Director: David Schmoeller, writer-director

Category: Horror/Suspense

Cast: Michael Bendetti, Denise Gentile, Anjanette Comer, Holly Floria, Robert Burr, Robert Sampson

Run Time: 89 (mins)         Rating: R         Distributer: Malofilm Group, Filmed in New Orleans PARAMOUNT

Summary: Corey Thornton's bold quest for truth may cost him his life. Surrounded by the enticing ways of black magic, haunted by a ghost from his past and driven by the desire for a mysterious woman, young Corey is about to enter that place beyond imagination. || The heir to a Louisiana estate may lose his soul after he learns of his late father's occult heritage. || A man falls prey to his late father's supernatural legacy. (SciFi channel 25 october 1997)

5.6. What does the tattoo on Amy's forearm mean?

Amy explained the tattoo in "Fashion" magazine (circa 1989):

"This is spiritual, and it's blue for charity; this is compassion;

this is intellectual grounding; this is the love of the earth;

this is the center of the soul..."

Niki Pantelias, founder of the original Indigo Girls mailing list,

also reported in a November 1990 posting to the list that Amy had said

that the tattoo was the Sioux Indian symbol for love inside a Hand,

and "basically it means love".

We run the Union Cinema, a 225-seat theater in the Memorial Union.

We choose the films, advertise them, run the concessions stand, and even project the films ourselves! ...

Currently, the Film Committee is gearing up for the

First Annual Eye In Hand Film Festival.

This festival, started by the Film Committee, will feature

student films from all over the country, plus a lot more.

Our meetings are held weekly at 3:00 PM on the third floor of the Memorial Union in the MUAB conference rooms.

Any questions? Call us at (602) 965-6822.

Last updated: November 29th, 1995

Copyright © 1995 by MUAB

Design by Jerry Poteet

from a 1998 almanac

you already have the same but not with these colors....

thx 4 ur page, I like it very much

BuBBle, french studient...

using Photoshop, on cover of

Xaos Tools Artist in Residence Fresco collection

Critique Past Contributors

Craig Frazier is the owner of Frazier Design, San Francisco. He is a designer, creative director, fontographer, and illustrator. His work has received awards and recognition from Communication Arts, Graphis, Print, and How magazines, as well as the AIGA and numerous art directors' clubs. Frazier has been an instructor at the California College of Arts and Crafts and a guest lecturer at the Kent State Summer Arts Program. He is a frequent speaker and juror for design organizations around the country. His promotional book, Things I Sleep About When I'm Thinking, is a miniature classic on design philosophy.

All contents of Critique Magazine's Web site and of Critique magazine © Critique Magazine, 1996-1998. All Rights Reserved.

Night Shift

collection of short stories by

Stephen King

First Signet Printing, February 1979

thanks, George.

ASTIGMATIC ONE Eye FOUNDRY

http://www.astigmatic.com

the Astigmatic One Eye Foundry is

YOUR source for Fonts, Art, Design,

Web Design, and Tutorials ...

astigma@comptechdev.com

cover art

Yellow Moon 1989

the Neville Brothers

Produced by Daniel Lanois

A&M CD 75021 5240 2

A&M LP 75021 5240 1

Tony Fitzpatrick lives in Chicago and has shown his paintings, drawings, and etchings extensively across the country. He is also a poet, author ( Dirty Boulevard ), actor and radio host, and is represented by Janet Fleisher Gallery in Philadelphia.

If only hands could see.

#11294 Ron Chapple, FPG International

Copyright 1995 Ron Chapple

Copyright 1997 The Photo Store LLC

http://www.photostore.com/psx/index.html

Web Site Design and Publishing

http://www.agate.net/~paulleb/Eye_In_Hand/index.html

P.O. Box 361, Skowhegan, Maine 04976

paulleb@agate.net

the Hand/Eye pattern I am attaching 2 files with scans of photos

taken from wall painting in the Neolithic town of Catalhuyok in

south central Turkey. The paintings are part of the decoration

in a shrine dedicated to the Great Mother and her daughter

dating about 6100 B.C.E.   Your page is fascinating.

Thanks for doing it... Cheers.... Maya Heath

4" x 2"; large blue glass Hand with Eye in palm, white glass fingernails,

complete with a blue ribbon and brass chain for hanging in a window. $4.00

The Lucky Mojo Curio Co. 6632 Covey Road, Forestville, California 95436

"The most popular form of Eye-in-Hand amulet is probably the blue glass charm from Turkey. In the region of the eastern Mediterranean and Aegean, the evil Eye is generally conceived as blue in colour. Thus a blue Eye-charm is considered most efficacious in warding off the influence of envious gazing. The blue glass Eye-in-Hand charm shown here is from Turkey. It is 3-3/4 inches in length and is equipped with a hanging chain and decorative blue ribbon. The Turks are prolific designers and manufacturers of this type of apotropaic charm. Being so large and fragile, these glass objects are not made to be worn as jewelry, but rather hung on the wall, probably over the door or near the bed of a baby. Other blue glass wall-hanging amulets from Turkey include a dark blue all-seeing Eye, a pale blue horseshoe covered all over wth small eyes, and a large circular blue Eye from which is suspended a gold-toned horseshoe and a bunch of plastic grapes. In addition, the Turks make a smaller, jewelry-like blue glass amulet i call eyes-all-over."

The White Cloud

Chief of the Iowa

1844/1845 George Catlin, oil on canvas, 71 x 58 cm National Gallery of Art, Washington DC

The White Cloud, Chief of the Iowa, stands before us in front of a cloudy, lit-up evening sky. What impresses us first about this portrait is the exotic appearance of the chief. Yet at the same time the conservative style with which Catlin has approached this new subject appears strange: he painted the inhabitants of the wilderness in the same way as he painted prominent personalities in Philadelphia before.

He may not have achieved the subtle excellence of his friend Rembrandt Peale, but he certainly mastered the art of portraiture. With the illumination a certain drama has been added to an otherwise rigid composition. He has depicted his model in half profile to emphasize the striking shape of the head which he has shown slightly from below so as to highlight this leader's pre-eminent personality. The precise representation of the headdress emphasizes the Chief's dignity.

Catlin has devoted his full attention to the face and The White Cloud's expression. The eyes have been painted with such care that they seem to tell us of a prudent and experienced middle-aged man. Light and shadow model the facial features without beautifying them. Everything else takes on a secondary role, important but not essential. Arikara warriors "were painted in a manner that seemed as if they had studied to make themselves hideous. Many of them had the mark which indicates that they drank the blood of an enemy. The mark is made by rubbing the hand all over with vermillion, and by laying it on the mouth, it leaves a complete impression on the face, which is designed to resemble and indicate a bloody hand."

- John Bradbury, Travels in the Interior of America in 1809-11. Vol. 5, p 171, in William R. Nester, The Arikara War: the First Plains Indian War, 1823 (Missoula MT 2001) p 32

They are perfect for wall hanging or displaying in a stand. Each FRAG is Hand-painted in an 'aged stone' finish of natural colors. The appearance would lead you to believe that they are heavy stones, yet you can easily hang them by a thumbtack. Each FRAG measures approximately 6" x 11" and costs $25.00 plus shipping and handling.

Hi,

I have just taken a look at your site, "the Eye in Hand" passed on to me by

a net friend. I was very excited to have read it as for the past several

months I have been experiencing a spiritual sight of a Eye in the palm of

each of my Hand. Recently I have begun to feel the eyes in my palms

phsycially. Having had some trouble finding out more information on it and

having asked dozens of people if they knew the meaning of it, I was

delighted to have your site passed on to me.

It has helped me in working toward what "the Eye in Hand" means to me as

well as to how to work with it.

Thank you,

L.

on a turtle

painted wood carving

wall hanging on a

leather thong

12.75" x 5.5"

inscription on back:

[ Finch Yelliott

1327 Cloverdale Circle

Hixson TN 37343

audited a course

on Southeastern

Indians, taught by

Nick Honerkamp

Professor of

Anthropolgoy at

the University

of Tennessee at

Chattanooga]

Eye-in-Hand on the back

(rather than the palm)

of a wax Hand

movie prop in The Wicker Man

starring Edward Woodward, Christopher Lee & Britt Ekland

England, Scotland 1973

Strict Christian Scottish policeman Sergeant Neil Howie

(Edward Woodward) in his hotel room on Summerisle

a different kind of

Eye in Hand

for biometric

identification.

Recognition Systems Hand readers identify you

by the size and shape of your Hand using their

patented Hand geometry scanners.

RSI manufactures HandKey and HandPunch

biometric terminals utilizing

Hand geometry for fast,

accurate identification

... "a 3D online digital world imagined & created by its residents."