Posts Tagged ‘offerings’

  Poised between spring and summer, Beltane is the Celtic quarter-marker festival of budding fertility. As the sun waxes brighter in the northern hemisphere, it is a festival marked by flames and bonfires in earthly reflection of the heightening solar powers. The fires are and were also intended to purify the world for the upcoming bounty of spring fruits and autumnal harvests.

  Standing as it does on the cusp of warmer weather and as the herald of the vivid growth and coloring of late spring and summer, Beltane was a festival of the in-between. In the ancient mythology of the Celtic Isles, particularly Ireland, it represented a changing of regimes and hunting grounds among the Tuatha de Dannan, the Fianna, and the more human aspects of the ancient population. Famously, the Sons of MÍl (the mythical Milesians) first landed on the southwest coast of Ireland on Beltane in an attempt to upset the balance of power and claim the islands for themselves. As they first stepped foot on the beaches and upon feeling the power emanating from the earth on the sacred isles, connecting them to the sacred day, the sun, and the cycle of life and death; their poet Armhairghin composed a song-chant in honor of the occasion. He sang:

  “I am an estuary into the sea.
 I am a wave of the ocean.
 I am the sound of the sea.
 I am a powerful ox.
 I am a hawk on a cliff.
 I am a dewdrop on the sun.
 I am a plant of beauty.
 I am a boar of valour.
 I am a salmon in a pool.
 I am a lake in a plain.
 I am the strength of art…”

  The sacred place on the sacred day of Beltane inspired an ancient invocation of one-ness between man and the universe: a positive invocation that inspires boundless definitions beyond the borders of human conception and perception. For, like its parallel fall festival of Samhain, it is a time when the boundaries between the worlds is dim. And like Samhain, it was a time when fierce protections were set in place to ensure that the roaming faeries and ancient gods of Dark Age and early Medieval Ireland did not interfere with mortal affairs or kidnap mortals into the Otherworlds beyond the mortal veil. Of particular concern were the Aos SÍ (the people of the Mounds), better known as the Tuatha Dé Danann or the Sidhe: the common name in Irish Gaeilge for the Mounds themselves. These faerie mounds which still dot the landscape of the Celtic isles are in reality Neolithic burial sites. But prior to the archaeological excavations conducted over the past several centuries (and really, still), these mounds were superstitious spots on the map. They were sites associated with the unknown depths of antiquity that had come before and when the early religions of the pagan past were translated into Christian terms as fairy tales and mythic saints, the ancient mounds retained their mysterious symbolism.

 

Legends held that the mounds variously housed the denizens of faerie or acted as party portals between the mortal realm and the Otherworlds ~ which in Celtic mythology are a complex and intriquing web of inter-dimensional theories modern physics are currently exploring. On certain special days, (Beltane among them) the locks between the layers of reality were undone, and the Aos SÍ were able to travel into the mortal realm via the Faerie Mounds and other portals within the landscape despite their contract with the Milesians that they must remain in the Otherworlds. Often their travels involved wild rides through the countryside or midnight dances near the mounds or in the surrounding forest. Hapless mortals lured into their revelry would often disappear, never to be seen again or returning suddenly years later, thinking only a few days had passed. Such was the case of the literarily infamous Tam Lin from last year’s Sacred Mists Beltane Blog who disappeared with the Sidhe and returned centuries later.

  In order to avoid being caught up by the Aos SÍ, various rituals were enacted for protection and to simultaneously draw the good blessings of the faerie folk upon their households. The bonfires, ripe with fertile and purifying symbolism, also serve as faux-faerie fires. In this sense, the bonfires act as a sort of apotropaic magick whereby the humans mimic the revelry of the fey thereby keeping other bands of Tuatha Dé Danann from wandering their way by convincing them that there were already faeries in residence. Less flammable offerings of foods were also often left outside of the house or certain plants or flowers hung over the doorways and windows to keep the sidhe out, while still currying their good favor as they passed by on Beltane, Samhain and other days of the in-between. Milk, honey, cakes, and bouquets of fresh and dried herbs were, in particular, favorite offerings to the faerie folk.

  Though Beltane is an ancient festival of hope and confidence, it is still widely celebrated in the modern world as one of the highlights of the Wiccan and Druidic calendar. And the belief in faeries and in other magickal denizens of the house and countryside remains strong the world over. So be sure to celebrate this festival of light, growth, and impending summer. It is a marker of good things to come!

Check out Sacred Mist’s Free Beltane Spells and Recipes : especially the Fried Honeycakes ~ just be sure you make enough for you and the Aos SÍ!

[Pictured at the top is Edward Hugh's Midsummer's Eve].

  I don’t know about you, but the wall in front of my desk is a veritable collage of notes, images, and articles I’ve pulled out of magazines and printed offline. They’re up there as visual reminders to inspire me during the daily grind and to direct my research. The current center of that web is a picture I pulled out of National Geographic last year of an Aztec offering found buried deep beneath Mexico City’s Zócalo Plaza (pictured at right). Despite excavation, the positioning of the shells, animal bones, and pottery within their stone tomb remains virtually the same as when they were placed in the stone box centuries ago. And what’s more: the unique positioning of the box within the stratigraphy of offerings buried in the Plaza is indicative of a wider sacred emphasis on the use of space and placement within ancient ritual magick and mythology. I can’t recall exactly where I put the Aztec Offering picture on my wall at first, but over the intervening months it has slowly migrated, becoming the central focus of my paperwork montage. With this particular picture suddenly as my desk focal point it seems fitting to address the power of placement and the art of magickal spatial management.

  In cultures throughout the ancient and modern world the arrangement of objects on altars, in rooms, and throughout their personal and public space has held power. Be it the arrangement of the candles on altars or the positioning of furniture in line with the tenets of feng shui, the idea of symbolic alignments is an active one with ancient (and potentially psychological) depths. In arranging objects in a way which is pleasing to the eye and therefore to the mind, there is the assumptive potential that they will also be pleasing to the divine or on a divine plane; thus balancing out or enhancing the divine and mortal energies flowing through the world. Or so follows some of the premises behind much of modern anthropological and psychological enquiry into the contemporary use of aesthetics. While the philosophies behind the ancient use of spatiality (sometimes called phenomenology when applied to sensory perceptions of the spatial use of ancient landscapes) are not as clearly known as those which remain into modern times like feng shui, what can be understood from ancient patterns of placement typically relates to the placement of objects and sometimes buildings in ritual contexts, mythic tales and divine cosmologies.

  The Aztec Offering from Mexico City is an example of these latter instances. Once, hundreds of years ago, Zócalo Plaza was where the Temple Mayor stood as a visible reminder of the sacred mountain Coatepec (a sort of darker Aztec Olympus) where one of the greatest mythological soap opera’s occurred. For it was on Coatepec that Huitzilopochtli the sun god killed his sister the moon goddess Coyolxauhqui and threw her body off of the mountain. Portions of the dark Aztec sacrificial rituals of the 14th to 16th centuries AD were intended to be representations of this event, which for various reasons was central to their mythos. And in lieu of being able to access the sacred mountain of Coatepec, men built pyramids in Mesoamerica to stand in their stead. In front of the Temple Mayor was a series of ritual statements symbolic of other aspects of Aztec mythology: like the pink stone monolith of andesite (now broken) representative of the earth goddess Tlaltecuhtli squatting to give birth before the pyramid. And beneath them, representing the various levels of the Aztec Underworld were a series of symbolic ritual offerings: a level of sacrificial knives representing the razor sharp teeth of the earth monster opening his maw to accept incoming souls to the afterlife. Beneath which was a leaf-wrapped cache of incense, beads, and jaguar bones: potential gifts paid for entrance or a magickal bundle to ensure correct passageway to the best part of the Underworld. And below that was the stone box that started this train of thought. A box filled with seashells, snails, crustaceans, and corals hailing from the three nearest seas (the Atlantic, Gulf of Mexico, and Pacific); along with a series of sacrificial knives each inscribed with the attributes of deities associated with the setting sun. And in its center, was placed the remains of a wolf or dog, bejeweled with a jade collar, gold anklet bells, and turquoise ear plugs: a testament to man’s best friend, who would lead the way and protect his master’s soul even unto death and its Underworld.

  Funerary contexts are often where the spatial patterning of artefacts is most clearly detected by archaeologists. The Egyptian pyramids, like their Mesoamerican counterparts, are complex tapestries representative of the ancient mythologies: inside and out. From their placement within the landscape, to the elaborate burials they contained, placement was of the utmost importance. For instance, the pyramids at Giza (pictured at the start of the articles) were built in alignment with the ancient sky, just as many standing stones were throughout the ancient northern European world. And everything about an Egyptian burial or entombment was ordained by ritual: from the placement of grave goods in certain areas of the tombs to the placement of scarabs and papyrus spells around and within the body and its wrappings. The shape of the Egyptian pyramid itself was dictated by local mythology and was often ascribed as a symbolic representation of the sacred mound which rose out of the primordial waters of the world and formed the foundation of all life.


  And while these ancient uses of space and arrangement might seem really distant from the modern world of sky scrapers, motorways, and electrical appliances: consider how often you do ‘arrange’ things without even noticing. You arrange flowers. You set the table for dinner (forks on the left, knife and spoons on the right!). You display your furniture, family pictures, and artwork. You organize your desk and in my case, the mess of inspirational papers you have tacked above it. And whether you’re following a set of traditional rules or just setting things up to be as pretty or as practical as possible: there is a method to that madness and a symbolism behind your movements. Be it an offering to the gods, the spacing of your living room set, or the arrangement of the herbs in your gardens, there is an unconscious art involved. There is a visual language ripe with meaning, some of which only you can decipher. And perhaps, the more you are conscious of the art of space and the art of offerings, the closer to something greater you might just be.

  For Further Reading check out the National Geographic article that inspired this train of thought:

UnBurying the Aztec by Robert Draper from the November 2010 issue.

And to investigate the most prevalent trend in aesthetic spatiality in the modern world, check out the Sacred Mist’s collection of Feng Shui texts!

This past week a group of Israeli archaeologists uncovered a particularly stunning and intriguing group of ancient ritual vessels dating to approximately 3,500 years ago. The objects were found at a site whose name and location have not officially been released in order to avoid looters, which is reportedly just south of Haifa on Jordan’s coast. Based on the vague structural patterns discerned so far, namely a step or potentially a series of steps leading into a natural hollow in the landscape, it either represents a small rustic temple or the merely the ceremonial resting place of the ritual vessels associated with a presumably nearby undiscovered temple: only further excavation will reveal which. The cache of remarkable and intact objects features, among a variety of other things: a cultic incense burner, a particularly beautiful cultic cup featuring the face of a woman (pictured), storage vessels for sacred oils, and a series of flatware, presumably for feasts. All of these vessels were deliberately, and carefully, buried; which has left them particularly intact, a rarity among pottery from this tumultuous time period (trust me on that one, I once excavated a piece of Iron Age cultic incense burner of a similar make from a nearby site and am entirely jealous that they’ve found a complete one). The archaeologists attached to the site, Uzi Ad and Dr. Edwin van den Brink, speculate that these ritual vessels were most likely entombed as such for one of two reasons. Either the local Iron Age chaos of the region threatened the objects, and potentially their temple; and they were subsequently hidden and no one ever came back for them. Or the cult or temple they were associated with fell out of favor, and the items were ritualistically buried as a sort of funerary sacrament for the defunct religion. Overall, it’s an exceptional and exciting find and one which has prompted me to explore the origin and nature of the ritual vessel in more depth.

The Psychology & Origin of the Idea of a “Cup”

Imagine yourself back in the good ole hunter-gatherer days. You sleep in caves and outdoors, you subsist off the land entirely, you move around a lot. You have few worldly possessions, and what you do have you use to hunt with. But what do you store your food and water in? Think about it. You kneel down at a nice lil’ gurgling creek and scoop out water with your hands, but you don’t get very much water. You try using leaves. But while the big leaves are useful for carrying those pesky berries you’ve been collecting for dinner, the water spills out when you travel over long distances and you can’t set it down to drink it later. You need something more substantial. And thus the cup was inevitably born. Cups and bowls carved from rock and wood, made from animal bladders and bone, and molded from clay and metal would have revolutionized the business of eating, living, and yes, praying, for the ancient man (and woman).

It seems like such a simple idea to the modern world. We’ve grown up with the idea of containment: with cardboard boxes, plastic bags, and the convenience of rolling suitcases. You’ve had bottles, sippy cups, wine goblets, champagne flutes, soup bowls, mixing bowls, and all sorts of useful containers around since infancy. But in a world just evolving and creating these things, consider the importance of that initial cup or bowl. The magick it must have held for its creators. You put something in it and it stays. It captures things inside and doesn’t let it out. It is as if you have made a permanent new set of hands, separate from yourself, which can hold the water you were trying to drink from that rambling stream much better than you can. And on top of that, there is simply the act of creation itself. Where once there was nothing, you have made something. You have given birth to this tiny little creature made from mud that can do your bidding and hold your water, grapes, seeds, and what have you. It’s quite a novel concept. Often it is the first creation of fire that is seen as the dawn of civilization, I suggest that it was the first cup instead.

It is difficult to pinpoint the evolution of the idea of the cup and other similar vessels and match them up with the human timeline; but it seems likely that its widespread use was a hunter-gatherer, homo sapien sapien phenomenon. Vessels, especially tiny oil lamps, begin appearing in the archaeological record alongside the infamous cave paintings of continental Europe. In order to light their way around the darkened caves to paint their lovely animals, bird-men, and hunting scenes, these early men and women took little bowls of lit oil in there with them. Archaeologically speaking, where the negative items in the record often are more significant than those we have evidence from, if such bowls were being used to such novel usage then and are accidentally preserved as such, it is likely that by this time the vessel was in much more mainstream usage and that few of these everyday cups and bowls remain for archaeologists to find.

With the advent of pottery about 18,000 years ago, bowls, cups, and other vessels appear more regularly in the archaeological record. From then on much of the archaeological record itself is actually determined entirely by the styles and types of pottery being created. When a man is found with a handled cup with a wide lip archaeologists can estimate he lived circa X thousand years ago, whereas when a man is found with a shallow bottomed bowl with a rippled top edge, scholars can say that he was approximately from Y thousand years ago. It’s a system called typology and it’s been a boon to archaeologists for the past two centuries, one which admittedly is being reevaluated and expanded with the advent of technologies like radiocarbon dating which can test the dating sequences in real time.

The Specialization of the Ritual Vessel

But then, like any priceless item, the value of cups and bowls become distinctly overlooked once there are many of them. Anthropologically, psychologically, and even economically speaking, when we start having plates and windows and cars made out of diamonds, we’ll stop valuing them as highly as we do. And the same thing happened to the once special “cup”. If everyone has something that can hold water, oil, or food it stops being a special invention. It stops being a magickal object of supernatural power and just becomes an everyday item. Or so it seems.

Humans, however, are keen on the specialization of things; and when applied to a civilization’s seemingly uninteresting cups and bowls, this penchant for specializing and using certain items for specific uses makes for quite a more interesting story. Just as we now have the dinner plate versus the side plate, the wine glass versus the coffee mug, so too the early civilizations had a variety of types of vessels. And to some of them, they ascribed that earlier wonder they once felt for this ‘idea of the cup,’ and these became the ritual vessels of the title.

The cups, bowls, and plates for offerings became imbued with the power of the offering, they too were part of the ceremony, part of the power between the supplicant and the god and/or goddess. In richer communities where there were many containment vessels, specific vessels were made ONLY for ritual use: be this holding sacred oil for temple fires, perfumes to anoint statues of the gods with, or carrying the special bits of sacrificial meat up to your nearby temple in. Often these ritual vessels have particularly ornate decoration carved or painted on them. These decorations range from simple designs to more complicated imagery, including the occasional image of the vessel being used in rituals on the vessel itself or an inscription describing the ritual or spell the vessel was intended to partake in. Ritual vessels are often more decorated than was typical for everyday rough and ready vessels which were far more likely to break through constant usage and handling. Ritual vessels on the other hand, were set apart from other objects and used only in special circumstances and therefore in a certain sense “lived” longer. They could be passed down through generations as well, imbuing them with further oomph via associations with ancestors and their worship, a huge part of early ritual and one which has persisted in various forms into the modern world.

So, the next time you bust out your grandmother’s china for Thanksgiving dinner, raise a glass in a toast, or just simply take a sip from your coffee cup: take a second to realize the remarkable meaning and journey of the vessel you’re using and the power it once, and could still, wield.

For more on the Israeli discovery, click here.

And don’t forget to check out the ritual vessels on offer in the Sacred Mists Shoppe: chalices, potion bottles, offering bowls, and more!

Petra is one of those places that has to be seen to be believed. Sure, it looks mega fabulous in films and documentaries, but it’s nothing like the pop culture simulacra the media has invented for it. The real place is so magnificent, so eye-popping and jaw dropping, it can only be defined as nothing less than an awe-inspiring, and truly religious experience.

An iconic site, Petra sits nestled in the Shara Mountains in southern Jordan. The Shara are sacred peaks, associated with the cult center of the Nabataean god Dhushara, lord of the mountains and son of all fates. But Petra isn’t just that one gorgeous building from Indiana Jones and the last Crusade (which is actually called al-Khazneh or the Treasury) nor is it just the Tomb of the Primes featured so prominently in last year’s Transformers 2 (which is typically actually called the al-Deir Monastery): it’s a vast cosmopolitan complex of sandstone wonder carved into a series of canyons and mountain tops over a series of approximately 36 square miles. You need days and days and oodles of energy to cover at least a partial hike of all the various sections of Petra proper (not to mention Little Petra several miles away from the more tourist-y central area). But it’s worth it, and if you ever get the chance to visit: do it. Just don’t forget comfortable shoes and a water bottle.

At the end of this last winter, I had two wonderful days out of my dig schedule to tour. The first I spent simply wandering through the ultra-tourist-y sections of the site. Petra, especially during high season in the fall, is exceptionally crowded. But as it’s an exceptionally big place, there’s always room for everyone to have their turn and pose for photos next to all the essential spots. And there truly never will be another moment in my life quite like walking up the long processional Siq and coming to its end and seeing al-Khazneh for the first time. It’s very Indiana Jones (and yes, my fellow archaeologists and I even had the theme song playing in the background off an I-pod to reinforce that notion) and it is a not-to-be-missed moment for anyone who has ever dreamed of seeing the world. However as impressive as it is now, imagine how amazing and magickal it would have been centuries ago as a culminating point for sacred parades. Hundreds would have trekked through the winding canyons to reach the space in front of al-Khazneh. Perhaps by torch light or by day light, the festive parishioners would have carried offerings; leaving some at the tiny altars carved into the walls they passed, and reserving others for the final destination. Sacred songs or chants, perhaps even dances would have been performed, but alas little is known of the ritual minutiae associated with this marvelous ritual landscape. However, participants would have come not necessarily to see al-Khazneh, but to have born witness to what was going on above it. For the cliffs above “the Treasury” rise ultimately to the High Place of Sacrifice, which for centuries, perhaps even pre-dating the more famous architecture below, a large basalt rectangle on a wind-swept plateau served as the ultimate offering place to the gods.

The High Place of Sacrifice, a two hour hike up and around the mountains is not often on the general tour. Typically a visit of Petra proper consists of a wander through the famous tombs, a stroll, or as in my latest visit, a camel ride across the Roman center of the city (which features the only remaining standing building, a later temple to the goddess al-Uzza), and a hike up a particularly treacherous mountain to see both the al-Deir Monastery and a panoramic of the site below.
The tombs stand out as the most prominent remaining feature, and many assume it was simple a necropolis. But what most people don’t realize about Petra is that it was a city of the living AND a city of the dead. Tombs and homes alike were carved into the mountain or else homes were built freestanding just beyond the ancestral tombs. And the living did not just live among the dead, they interacted with them on a frequent basis, often leaving feasts for the dead in the tombs and having celebratory feasts of their own. Later tombs, like the Tomb of the Obelisk just outside the Siq, even incorporated this element into their design and feature a special central room encircled with stone benches for the living to sit on as they enjoy their macabre meal. The close family ties this type of ritual communion implies and the respect of ancestors must have been a particularly satisfactory form of worship, because many of the Romans that were stationed in Nabataea, particularly the higher up commanders converted: living, dying, and being entombed according to local customs.

On the second day of my recent visit, in an effort to see some more of the quieter, less well known bits of Petra, I hiked even further off the beaten tourist path. Veering off just before the Siq a winding sandstone canyon, worn silky smooth by years of flood run-off, leads
up to an area of Petra called Moghar al-Nasara: a section of Petra you are virtually guaranteed to have to yourself on any given day. The canyon, a processional route, like most canyons round Petra, is dotted with carved altar niches to the various local gods. Some are topped with their totem symbols, and others, worn smooth by the wind, sand, and reverent hand, are mysteries even to the contemporary Bedouin tribe who work among the ruins. Several of the niches even contained recent offerings of stacked stones and small change. Upon encountering a particularly well worn niche which featured an intact and simple crescent moon above it (the symbol of the goddess al-Uzza), I too left a small offering of coins. I’m not sure how much of the goddess’ favor I can curry with 35 piastres, but I do really believe that it’s the thought that counts.

Towards the far end of the long and winding canyon, the niches take on a more decidedly Roman flavor with inscribed columns, more pronounced pediments, and a drastic increase in size. One along the way was more than 600 times the size of the regular 15×9-ish niches and more resembled a doorway. This change in style is not surprising however, considering that the canyon ultimately ends in another canyon, perpendicular to the first and parallel to the Siq farther south. This canyon is haphazardly lined with dozens upon dozens of purportedly later tombs, the nucleus of the later Roman enclave of Petra as the center of the region moved farther and farther away from the previous center below the High Place of Sacrifice and more towards the water sources farther southeast. The later Islamic period township is likewise even farther removed and the modern town of Wadi-Musa is even farther beyond that.

Seriously though, if you can go to Petra. Don’t leave it on your bucket list until it’s too late. Not only will it be a pain in the you know what unless you can get an ass to ride you round it; but carved as it was into the local sandstone: Petra is eroding away. Older tombs are already soft washed and blend into the background of the canyons, leaving only the odd opening shapes or occasional pediment to temporarily mark their passing. Petra is melting away into the desert cliff faces, blending in with the Gaudi-like landscape that the ancient Nabataeans changed to suit their religious and urban aspirations over two millennia ago.

Today we’re going to look at something a little different, something that I tend to classify as more of a “new age” practice within the confines of Wicca and Paganism.   As many of us who are eclectic in nature and are often evolving our practices as we find new things that seem to call to us, I hope that this craft and prayer/meditation practice will be useful for some of you, especially if you are going through a particularly difficult time in your life.

For centuries in various cultures the use of prayer boxes, often in the form of jewelry, has become an honored tradition.  The use of community prayer boxes is a well known tradition in the Catholic and Christian faith where people of a congregation are able to write out their need for prayer and add it to a box which either a few individuals or a whole prayer circle will work on for those in need.  We can create a variation of the prayer box to fit our needs, either as individuals or for covens or circles.  You can call it a prayer box, petition box, or as I’ve always called it, a Goddess box.  It depends on a few variations of how you craft it and your intentions when crafting it.  As I share this process with you, if you decide to work with this, make the changes that you feel you need to for your own beliefs and traditions.  I will be addressing this from the perspective of working specifically with the Goddess, so if you wish to work more with the God or just the Universal energy, you can make those changes.

A Goddess box is a physical box, one crafted with intent, designed to be a place to drop written prayer petitions.  Petition magick, as we’ve talked about previously, is a wonderful way to work simple spells of intention, and the Goddess box becomes an aid to petition magick, as you’ll see through the process.  So we’re going to start with talking about crafting a Goddess box.

You’ll need a few items to get your started:

• A plain wooden craft box.  These are available at arts and crafts stores all over or you can use an old cigar box, an old jewelry box, or anything of the sort.  We’re going to be completely changing it’s appearance so be sure that whatever it is you wont mind stripping it down, painting it, etc.
• Paints, markers, and related supplies.  We’ll talk about colors in a moment.
• Stickers, stamps and craft paper.
• A piece of parchment or other paper.  Pick something that you find visually appealing but something that you will be able to write on where the writing will stand out.
• A small sachet of offering herbs.  We’ll talk about this in a moment.
• An image of a Goddess.  If you’re working with a God, than an image of whatever God  you wish, or other spirit or entity that you wish to call on to work with you.  This can be an animal spirit guide that you pray and meditate with, or even an otherworld entity that you work with in this way.  The idea here is that whomever you dedicate this box to is someone that you have worked with before, either in prayer, meditation or magick, who you are completely comfortable in going to with requests for help and aid.
• A stone or crystal.  Again, we’ll talk about that in a moment.
• A small stack of slips of parchment or other paper and a pen.

First let’s talk about our intentions.  The purpose of this box is to create a place to hand over certain problems, cares and needs to either a specific Goddess, God or spirit ally that you are confident and comfortable in working with through prayer, meditation and petition work.  What you’ll be doing with your box is writing down your needs and placing the slip of paper within, along with speaking words of prayer and offering, to your chosen deity or spirit, asking them to help you find a way to resolve your problem.   What we’re doing here is asking for a door to be open, a way to be shown, and in a sense laying our problem in the lap of the Goddess and asking for her guidance in gaining a solution that may be eluding us.

Keep this in mind while crafting your box and also keep it in mind when deciding who, if anyone specific, you wish to dedicate your box to.  Consider this intention when picking out your colors and images for the box as well as when picking out the stones and herbs for the small offerings that we’ll be keeping within the box.

Creating an offering sachet – This is a simple step in the process of making the box and one you can either do first or last, it’s up to you.  Gather together either a white spell bag or a small swatch of white cloth and white string or ribbon for tying it close.  Pick two or three herbs that you can place inside that are used for offerings or that have the properties of thanksgiving.  A few suggestions include tobacco, blue corn, desert or white sage, copal, cedar, or lavender.  If you’re going to be working with a specific deity or entity that you know prefers something specific, then use that in your bag.

Fill the bag with the herbs and tie it closed.  Hold it in your hands for a few moments, directing white light and your intentions of blessings and thanksgiving into the bag.  When you feel that the bag is full with energy, you can set it aside.  It will be going into the box when it is completed so keep it in a safe place in the meantime, like your altar.

Picking stones -  Again, keeping in mind your intentions and the purpose of the box, we want to pick a stone to keep inside that is associated with something such as prayer, meditation or even directly problem solving.  The way that I personally work with the stone is that I place it on top of the petition slip when I place it inside the box.  You can do this if you feel so drawn to, or you can just leave the stone in the box as an aid to the work being done.  A few suggestions for stones to use include quartz (clear or rose), danburite, fluorite, amethyst, or lapis lazuli.  Take your time in picking a stone and really decide what energy you want the stone to add to the box.  For example with the lapis you can call on its properties of truth and awareness to aid you in seeing the truth in a situation and clearing seeing the solution, where as you can use the powers of transformation and intuition held in danburite to help your prayer needs.  

Once you have picked out a stone and acquired it, properly cleanse and charge it with your specific intention and then place it on your altar with your sachet until it is time to add it to your box.

Crafting the box – This is the part where you get to really be creative.  You do not need to be a great artist to do this; this is part of why we have stickers and printed images to help us.  If your box you’re working with is something that is going to be recycled from a previous incarnation, take the time to do any stripping of paint or finish that you may need to.  Some things you can paint right over, but if you have something that has a shiny or varnished finish, you’ll need to strip it first otherwise your paint will either not hold at all or will chip quite easily.

Take some time to pick out colors that either reflect on you or your ally you’ll be dedicating the box to.  You can use colors appropriate to specific deities, use the colors of the elements, or just use some off your personal power colors.  Paint the box in whatever way you personally desire.  There is no right or wrong way to do this, so be creative.  Paint the inside as well, either using a solid color or do something that you might find personally magickal and empowering, like painting sigils and symbols inside it to protect and empower your work.

Allow the pain to dry overnight before moving on to adding any stickers, paper or printed images.  Depending on the type of paint and the surface of the box you may wish to add extra glue to stickers since the adhesive may not hold.  Add a picture of your chosen deity or ally to the top of the box and embellish as you see fit.  A written dedication will be going on the inside of the box top, so you don’t need to add anything like that on the outside unless you wish to.

When you are done, set the box aside and again give it at least overnight to ensure all glues and adhesives have dried.

Writing your dedication – On a piece of parchment paper, in your own handwriting, you are going to create a dedication that will be placed on the inside cover of the box.  This can be a prayer, chant or blessing that you will recite each time you place something in the box.    The following is a modification of what I have inside my Goddess box.  You will want to modify this to fit your specific box.  Write out your drafts and get your wording as you want it on notebook paper first and when you have settled on what you wish to say, write it on a piece of parchment cut to fit the inside lid of your box.

I dedicate this, my Goddess box, to the Lady of love, mercy and healing.  Whatever I place inside this box I place at the feet of the Goddess.  I ask the Goddess to nurture my needs and take care of me in my time of struggle.  Within this box I place my hopes and fears, my dreams and anxieties.  When I close the lid I know that they are now in the hands of the Goddess and she will guide me and show me what to do next.  With this box I put trust in my inner knowing and in the Goddess.  With this box, I foster a connection to the Goddess within and without.

So mote it be!

Once the paper is dry, do any additional decorative steps you wish with it (e.g. aging the edges) and then firmly glue into the lid of the box.

Dedicate your box – For this next step you may wish to wait for the full moon or you can do it any time you wish.  Gather together your box, slips of parchment and pen (these items will be kept inside the box at all times for easy and quick access), your crystal and your sachet.  Bring them into sacred space and lay them out on your altar or work space.  If there is a specific deity that you will dedicate the box to, evoke them into your space letting them know you are dedicating this special magickal prayer object to them and you wish for their blessings up it.  You may wish to smudge the box with sage or cleanse it with all the elements and present it to the four directions as well to ask for their blessings as well.

Once you have presented the box to the deity/ally it may be dedicated to, or to the archetypal God/Goddess aspect, add your sachet, presenting it as well with words of intention, and then add the stone, again with words of intention.  Add in your paper slips and pen.

Where to keep your box – You can keep your box anywhere that you wish, but try for a place where it will be out of reach of children and pets and where it will also be out of reach or sight from prying hands and eyes.  This can be a great items for those of you that may need to keep your items somewhat hidden because of issues with family or roommates and it can easily blend in with other trinkets, decorations or jewelry boxes depending on how you have chosen to adorn it.  You can always just keep it on a corner of your altar if you wish.

Working with your box - If you have a specific need right now, take a slip of paper and write it out.  Hold it in your hands, sending your intentions, desires, hopes and worries into the paper.  Recite your dedication/prayer for help to your ally.  Place the paper in the box and then pick up your sachet.  Hold it for a moment and draw on some of the energy of offering and thanks from it and then direct that energy to your ally, then return the sachet to the box.  Close the box and leave it in it’s special place.

Once a solution to your need has been found, or things have worked themselves out, say a thank you to your ally and either send energy from your offering sachet again or leave another appropriate offering on your altar or at the box.  Take your slip of paper from the box and, using a fire-proof container or cauldron, again say thank you, solidifying that your ally helped you and that you are thankful, and light the paper.  Toss it into the container, allow it to burn down to ash, and then toss to the winds knowing that your problem is solved, resolved and gone from you.

Maintenance of the box – This box will become a living magickal tool for you if you use it regularly.  You will want to recleanse and recharge the crystal periodically and you’ll also want to replace the herbs from time to time as well.  When you do this, allow this to also be a time to change these items as well.  If you want to try a different stone, do it then or use different herbs in your sachet.  Listen to your intuition or even ask your God/Goddess/spirit ally what they would like.

This is a wonderful and simple tool to work with and one that you can really personalize to express your love of your specific patron deities or your closest of magickal allies.  Make it more than just a place to put your problems, but an expression of your dedication to your path and the change that you desire to see in your life when you work with it.

Here are a few pictures of my own box from when it was originally crafted several years ago.