The puppet in ritual, magic and art

Abstract

The dolls represent the eternal companion of man on his path of life. Many researches, historical observations and digressions bear witness to this. Scientists have found the following fact - already in the Paleolithic Age our ancestors had discovered fi gures carved from the stone. Such puppet sculptures had a certain predestination - in pagan religious and cultural rites they were given a great role. Prehistoric man established direct contact with the idol, the deity, through the doll. One of the oldest artifacts proving this thesis was found on the territory of present-day Austria in the early 20th century. It represents a female figure - the goddess of fertility - formed and colored from stone.

The function of the idol was given to the doll at the earliest stage of human history. On diff erent continents, people have worshipped doll fi gures made of clay, stone, wood, bone, bronze, etc., representing diff erent deities. Special sacrifi cial places were erected, in the middle of which the totem doll fi gure took the place of honor during a numerous group ritual. The people were convinced of the omnipotence of this figure.

Dolls made of diff erent materials were found in various children’s graves - for example in Egypt, Greece, on the territories of the Roman Empire, in Mesopotamia ... The parents of the deceased children were apparently of the opinion that these dolls could protect the souls of their children and that the children needed their toys in the afterlife as well.

In the course of time, the forms of the idol dolls became larger, they were used in cultrites in Greece, Egypt, Rome during the festive mass processions. The high priests used the technological innovations of that time and had such doll fi gures (articulated dolls) made, which were movable. This made a great impact on the common people. Gradually, such events became theatrical performances, depicting various scenes from the lives of deities, accompanied by choirs and group dances.

The situation had not changed cardinally even after the spread of Christianity. The pagan deities were replaced by the fi gures of the Mother of God Mary, who was already being carried around in the processions of Christian festivities.

In these processions, three types of puppet fi gures are worthy of note - hand puppets in which fi ngers were inserted; puppets moved by an actor hidden below and marionettes moved from above with a thread or wire. The term “marionette” is of Italian origin. In Europe they appeared for the fi rst time in the 16th century.

It should be noted that puppet shows and shadow theater in Asia - in the countries of the Orient - have a much older history of existence. The puppet is actively used in the rites (of course with diff erent meaning and function), both by the successors of the so called “black magic” (Wudu or Voodoo) and the “white magic”.

Also in Georgia the dolls in the rite have a great history. Especially in Kakheti (East Georgia), in the region of Gurdjaani, during the drought the villagers made the figure of St. Elias and carried it from house to house. They sacrifi ced gifts to it, they sang prayers and asked for rain. Also popular were dolls that were sewn or made especially for the sick children. Such dolls had a sack with various gifts and these dolls were carried out of the house of the sick child, they were thrown out so that the illness would leave the house...

In various regions of Georgia, puppet shows - all 3 types of puppets were present in this country - were hand puppets in which fi ngers were inserted; puppets moved by an actor hidden underneath and marionettes moved from above with a thread or wire. Georgian names for these puppets were diff erent in all regions - in West Georgia - Kiko, in East Georgia - Rag Kuki, in Kartli (Central Georgia) - Tikina, Tojo Boy, in Kakheti - puppet, in Racha - queen puppet etc. This circumstance testifi es that there should have been shadow theaters in Georgia as well.

The article also reports about the puppet theaters in India, also in Iran, about which the famous Georgian poet Joseph Grishashvili gave interesting information in the middle of the 20th century. Also about the shadow theater in China, and about the puppet theater Burnaku in Japan, which was founded in the 8th century.