Muñecas, objeto con alma propia

The story of Ambar, born from a lightning bolt embedded in a rock.

They say that from a stew of stars a thin copper lightning bolt emerged, and that it was drawn to this celestial body.

The lightning bolt embedded itself in a rock, hollowing it out as if it were an egg. There, it transformed into hundreds of tiny amber crystals. On a cold day, after warmth, the stone split. Several crystals jumped out together and formed a heart. With the electric arts of the lightning bolt that still lived there, a small human-shaped body was created. From her head grew bright, long copper hair. She dressed in white. For footwear, she was given transparent crystal shoes, so she would not forget to walk in the pristine. Her heart beats in the center of her chest and is guarded by a filigree gate. A tiny yellow rose wanted to grow among the crystals. The incandescent light of the lightning bolt dwells there. A golden bird aproached to her shoulder . Together, they remember that they come from beyond that star-studded soup.

And they live.

Love

And yearn

Play and cry

With each spin they return to its primordial heaven.

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Something else about dolls

When we talk about a "doll," we are referring to an anthropomorphic or zoomorphic figure that can be used in traditional ritual practices or as part of a game, as children do. It is a universal object, used since ancient times, and there is no culture that hasn’t used them in ritual terms; perhaps their function as a toy is the most recent. Let us recall the famous Venuses, the Venus of Willendorf, clearly of a ritual role. As a toy and something more, there is the discovery of the doll found in Italy from ancient Rome, the doll of Trefena Cripareia, dated to the 2nd century AD. I have spoken about this doll and others in the other blog post named Dolls.

Regarding the deeper meaning of these objects, I want to share the following fragment from an essay by Mercedes Pullman, which helps us understand the position, role, or existence of this special "toy":

"Among the things that enter our daily life from the cradle and then accompany us throughout our life, there is, perhaps, nothing more obvious and famous, and at the same time more mysterious and paradoxical, than a doll. Its very 'humanity,' the closeness to the living, the ability to replace a person in conditional forms of play, to act in their role, distinguishes it from the many objects that surround us, creating a kind of mystical veil. When we take a doll in our hands, we unconsciously already begin a dialogue with it, that is, it is not an empty, soulless object, but the living human principle that appears in its features. Moreover, perhaps it is the millennia-old experience of communicating with the doll that allows us to attribute the properties of the living to many other objects in the world around us. In this sense, the doll apparently differs significantly from other vicissitudes that surround us, which, as a rule, have a purely utilitarian application, that is, 'the lowest semiotic state.' The doll always has a 'second semantic plane' that, even when it is used as a child's toy, it does not allow it to descend to the level of a child's shovel or ball. The doll, like many other things, acquires the “highest semiotic status” in rituals, and this is the result of the combination of “material” and “religious-mythological” semantics. It is in ritual and magical practices that the characteristic features of the doll as a special phenomenon are most clearly manifested. In its most diverse forms, the doll offers us social and cultural interactions, between a person and a doll as an object. The functions and role of a doll in ontogeny and phylogeny, the meanings and symbolism attributed to it in different cultures, as well as the possibility of forming a system using an object as a social construct, intergenerational transmission of values, and tradition.

www.academia.edu/50445047/La_muñeca_Un_juguete_con_alma_propio