Article
Culture
Suffering
5 min read

Protection from evil shouldn’t rely on a blue glass bead

Faith goes beyond culture in my beloved Türkiye

Becky is a a writer living in Istanbul.

Blue evil eye charms hang among a jewellery display
Vik Walker, CC BY 2.0, via Wikimedia Commons

‘Mashallah, your baby is so ugly!’. 

The elderly ‘auntie’ stopped me in the street, exclaiming over my 3-month-old baby, who was strapped to my front, and before I could translate in my mind what she’d said, quick as lightning, she had safety-pinned a teeny tiny glass blue eyeball to the sling.  

I had just moved to Türkiye from the UK and was waist-deep in culture shock. My new friend explained to me that she had pinned the ‘nazar’, a little blue bead in the shape of an eye, on my baby to protect him from evil spirits or anyone's jealousy that would cause them to wish him harm. Mashallah means ‘God wills it’, and calling the baby ‘ugly’ was also for double protection, to distract the evil eye from the fact that he was cute (he was!). 

This belief in an evil eye dates back to ancient Greek and Roman times. The little blue nazar represents both the evil eye itself - a widely-feared, dangerous power that could harm others, including their crops or livelihood – and at the time offers protection against it. From Azerbaijan to Pakistan, multiple countries in central Asia and the Middle East believe in the nazar or a variation of it.  

Today, the nazar is such a deeply ingrained cultural thread of life here in Türkiye that, nine years later, I hardly notice it anymore. Nazars are the country’s unofficial brand logo, and the bright azure blue with a white iris and black pupil is the colour palette for Türkiye. 

Wherever I go, little blue eyeballs stare at me. From crinkly-faced kind teyzes (aunties) to the young influencer girls on Instagram, nazar necklaces are everywhere. Glass blue nazars decorate walls, tables, and trees. 

Just yesterday, I was at a friend's clothes studio; for her grand opening, all the gifts from well-wishing friends for her new business were nazar-themed: a tray, a paperweight, and earrings.  

So how does ‘nazar’ work? If someone compliments you or anything about you, it's believed that it can attract the evil eye with a harmful curse against you or your possessions. To cancel out the curse, there's a selection of phrases you can say, including ‘mashallah,’ or ‘Allah korusun’ (may God protect you).  

Other ways you can ward off the unwanted attention of the evil eye include avoiding staring at children in the eyes for too long, spitting on the ground, and, of course, the most popular, hanging a blue glass evil eye bead wherever you can (there is even a huge one embedded on the front door threshold of our apartment.) 

A close friend always tells me to pray a special nazar prayer over my youngest son because he has bright blue eyes, which she believes makes him more susceptible to the evil eye's powers. I respectfully tell her that I have a different belief, and I pray for my family for protection from Jesus. (Whom Muslims revere as a prophet, so this is acceptable to her). 

As a woman of faith who has lived in Türkiye for nine years, there is so much of the beautiful Turkish culture that has become mine, and for that, I am so grateful. Living cross-culturally is a little like having a heart transplant - there's no going back. My views on health, parenting, family, and community are now all so broadened and different. But the nazar trend is something I haven't adopted. When I go shopping with my girlfriends, and they browse stunning gold necklaces with a tiny ‘nazar’ embedded in the pendant, I won’t buy one for myself.  

Because faith goes one step beyond culture. 

The evil eye is based on a superstition about jealousy that has malice at its core. It wants to wreak harm on others. Now, we don’t need to look far to see that we humans are pretty good at being selfish and greedy and hurting others to get what we want. Scroll through the news for five minutes, and we’re convinced of the presence of evil in our world.  

But superstitious belief in the powers of nazar is not the way to ward it off. 

The dictionary definition of superstition is: ‘a belief or way of behaving that is based on fear of the unknown and faith in magic or luck: a belief that certain events or things will bring good or bad luck. 'Both superstition and faith are about believing in things that can’t be seen. Superstition puts it all on you to follow some rules to avoid bad luck or evil. But that’s a bit like shooting in the dark. Believing in the nazar means you can obey all the rules of the system and hang blue beads everywhere… and you can still experience evil and suffering. A loved one gets sick. Problems at work. Whatever it might be. So, either the nazar didn’t work, or you didn’t do it right. 

Faith, by contrast, still means you can experience evil and suffering – but the difference this time is, the outcome isn’t attached to a physical action you took. It's about a relationship with someone who cares about our fears rather than trusting in a blind action that may or may not work. And if we want protection from evil, we can we simply ask for it. No blue beads necessary.

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Review
Art
Culture
Royalty
Weirdness
5 min read

From witchcraft to statecraft: inside the mind of King James

A new exhibition examines art the monarch commissioned and inspired

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A portrait of King James VI, his eyes fix the viewer.
King James, by an unknown artist.
National Galleries of Scotland.

James IV and I devoted his twenties to trying to rid his kingdom of witchcraft. And 400 years after his death, witches continue to cast a long shadow over his reign. While James’ beliefs on evil developed and refined over his 58-year reign, his reputation as solely a torture and femicide perpetrator remains stubbornly hard to shift. For many, identification with the abused, marginalised- yet- magical trumps all other historical considerations. 

In the exhibition World of James VI and I, the National Gallery of Scotland presents a more rounded picture of the cradle king, who gained the throne of Scotland at 13 months old and became the first joint monarch of Scotland and England in 1603, on the death of Elizabeth I. The beginning of James’ reign in England saw the first productions of Shakespeare’s Macbeth, King Lear and The Tempest. Inigo Jones’ appointment as Surveyor of the King’s Work introduced the classical architecture of Rome to the country, designing The Queen’s House in Greenwich and the Banqueting House at Whitehall. 

The painted ceiling of the Banqueting House by Peter Paul Rubens provides insight into James’ preoccupations. Commissioned by James in 1621, the tennis court sized series was installed in 1636 becoming a memorial to the late King. In The Apotheosis of James I, the King is depicted ascending into heaven on a giant eagle belonging to Jupiter, ruler of the Roman gods. The winged figure of Victory, together with a figure representing Great Britain hold a laurel wreath above the King’s head, in exchange for his earthly crown. Parallels between the King and divine power are explicit, underlined by the figure of Religion holding the freshly translated Bible showing the first words of St John’s gospel ‘In the beginning’ (was the Word). In a side panel to The Union of the Crowns, where the King is presented in a Biblical setting, Minerva, goddess of wisdom is stamping on Ignorance, represented by an old woman, naked and floored. 

Rubens’ identification of an old woman as low status and powerless did not come out of thin air. In the social hierarchy of seventeenth century northern Europe, most ordinary people had few rights and women had next to none, entitled only to the legal protection of their husband’s rank. But lack of rights did not prevent women from influencing their communities’ moral tone. The victims of the infamous East Berwick witch trials in 1590-92 and Pendle witch trials in 1612, first came to the attention of authority through accusations and feuds within their own communities. 

Daemonologie, published in Edinburgh in 1597, was written following James perceived experiences of witchcraft when storms imperilled his voyage from Denmark to Scotland, returning with his new 15-year-old bride Anne. It is believed the King was involved in interrogations of witchcraft suspects in East Berwick, authorising their torture and execution. One suspect’s ability to recount a conversation from the royal bridal chamber, convinced James the accused were the tools of diabolical powers intent on killing the royal couple. Beliefs around women’s inherent weakness, positioned them as easier prey for malevolent forces:  

‘sexe is frailer than man is, so is easier to be intrapped in these grosse snares of the Devill’ 

In later life James became more sceptical about claims of witchcraft and demonic possession, and searched for evidence to discount what was only the work of fantasy and attention-seeking. 

But the King’s family history and tumultuous times he lived through, made the road to discernment a long and winding one. James last saw his mother, Mary Queen of Scots as an 11-month-old infant. His father Lord Darnley was killed in a mysterious explosion, possibly arranged by his own wife. Mary was imprisoned in England by Elizabeth I and executed in 1587 at Fotheringhay Castle in Northamptonshire. In the lead up to his marriage James lamented that as a child he was ‘alone, without father, mother, brother or sister.’ 

The normalcy of removing troublesome relatives is illustrated by a 1605 portrait of Lady Arabella Stuart, attributed to Robert Peake the Elder. The King’s cousin died in the Tower in 1615, where James had her imprisoned, in case her marriage to William Seymour gave her too strong a claim on the throne. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role...  has no historical precedent.

Death also stalked James and Anne’s family, with only two out of their seven children surviving into adulthood. Their eldest son and heir Prince Henry Frederick died aged 18, and was mourned throughout Europe in the decades that followed the death in 1612, as he was seen as the great hope of the continent’s future.  

The World of King James VI and I is full of visual meditations on death. On entering visitors are greeted with Livinius de Vogalaare’s The Memorial of Lord Darnley, 1567, a substantial canvas, with a crowned, grey-robed infant James, kneeling before his father’s coffin. Darnley’s effigy with hands in prayer lies on top the casket, unicorns either side of his head. An engraving of Prince Henry Frederick’s Hearse, 1640 copy from 1612 original, shows the richly decorated hearse, complete with a wax effigy dressed in the prince’s clothes, which was accompanied by 2000 mourners as it made its way to Westminster Abbey. Eighteenth century artist James Mynde’s engraving The Mausoleum of James VI and I, illustrates the Jacobean era’s fondness for lavishly dressed effigies of the deceased, surrounded by figures of classical deities. 

Charm stones, believed to cure sickness in people and animals, formed part of James’ cosmology, together with the new translation of the Bible he commissioned, intended to sound beautiful for this age of oracy. James advocated for Protestantism and the reformation, while being in regular communication with the Papacy. He also brought a more English style of worship to the independent-minded Scottish kirk, insisting they used chalices and altar cloths. The monarch was devout, yet flexible, in his Christian beliefs. 

A simple reading of the Jacobean court is not possible. It was a place of ritualised gift-giving, with ciphered and initialled jewels indicating who was in or out of favour, whose power was rising, and whose power was waning. James believed he was sent by God to rule and protect his people, and felt justified in extinguishing anyone or anything threatening his divine project. Self -proclaimed, or community-nominated witches provided useful scapegoats for discontent around James’ rule, underlined in 1605 by the Gunpowder Plot. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role and presenting a blank screen for the dark projections of the powerful, has no historical precedent for bringing liberty or social transformation. Cos-playing the historically marginalised will not make things better for today’s excluded and underserved, but focusing on down to earth, earthly political and economic power will. 

 

The World of James I and VI, National Galleries of Scotland, until 14 September.