Sometimes very strange things happen in life. So, the most interesting and mysterious things can happen within the walls of your own apartment. Mysticism, the supernatural and the paranormal, all this can “settle” in the home of any person. Sometimes an ordinary brownie can act in the form of an evil spirit.
The first type constantly helps a person and does not harm him. If he tries to strangle a member of the household, then, most likely, it is necessary to exercise caution; changes are coming, and sometimes not of the best nature. As for the evil brownie, he is capable of causing mischief always and everywhere.
What to do if otherworldly forces decide to come for a visit? How to get rid of haunting shadows? There's really nothing wrong with that. But it’s also not worth leaving the problem unresolved. So, the first thing you need to do is understand what is happening. Often a person is haunted by shadows that essentially do nothing wrong. But where do they come from and what is their purpose? If you see a shadow in the house, then there is nothing good about it.
The fact is that many shadows and evil spirits appear for a reason. Unsuccessful fortune telling, cards, etc. can disturb the parallel world. A person, without even knowing it, can attract negativity to himself, which is very difficult to return back. Therefore, before starting the process of fortune telling, especially if we're talking about complex manipulations should be carefully considered. In extreme cases, a person can come to the rescue knowledgeable this matter.
Sometimes shadows and evil forces appear in the apartment after the death of someone close. This suggests that the soul cannot calm down. There are times when the “devil” jokes with people in this way. In general, there are quite a few reasons for the appearance of various mystical phenomena. The question remains unresolved: what to do? Seeing a black silhouette in the house does not bode well, so you need to know how to get rid of it. How to overcome all this and is it dangerous for humans? For example, brownies can be both good and bad.
So, if an evil spirit, strange shadows or silhouettes appear in the apartment, the first thing you need to do is try to get rid of it yourself. Because if you let everything take its course, the consequences can be terrifying. The first thing you need to do is try to consecrate the apartment yourself. This is done with the help of holy water or a church candle. So, you need to take a bowl of liquid and, while reading a prayer, begin to consecrate the corners, while following in a clockwise direction. It is advisable to repeat this action three times.
There is another way to do this. In this case, you will need to take a church candle. The process is similar to the previous one. The candle is lit and a prayer is read. So, you need to go around all the corners clockwise and make three circles. Silhouettes in the apartment indicate that evil has settled in the house. Therefore, you need to get rid of it immediately.
If none of the above actions help, you need to seek help from a priest. Most likely, we are talking about something more serious. In many cases, a person is not able to cope with this on his own. Because “evil” can be different and it appears for a number of reasons. So, in order to never encounter this, it is recommended to swear less at home. It sounds strange, but it is a person’s negativity that can attract mystical creatures into the home. In general, it is not recommended to guess on your own and resort to calling spirits. All this is fraught with serious consequences.
Getting rid of a brownie is sometimes very difficult and almost impossible on your own. Therefore, as soon as a shadow or silhouette is noticed that haunts you, it is necessary to begin the process of “expelling” evil from the apartment. It is advisable to seek the help of professionals in this matter.
In conclusion, it is worth saying that seeing silhouettes at home indicates that an otherworldly force has settled in the home. Therefore, it is urgently necessary to begin measures to “expel” her. Otherwise, things can get out of control.
Modern society, where every day there is some kind of technical discovery related to the exploration of space, magic remains an unsolved science. This is really a science that in ancient times...
I usually talk about the importance of using flash when shooting in the sun to show the details of the subject, but sometimes it is more effective to, on the contrary, level out all the details except the outlines and present the subject against a bright background - in other words, photograph silhouette.
Silhouettes - great way convey drama, mystery, emotions and mood to the viewer, they always stand apart in the album due to the fact that, with apparent simplicity, they tell us a whole story. I love them because they do not show the viewer a clear picture of everything that is happening, but leave room for imagination.
The key when shooting silhouettes is to position your subject (the shape you want to show) in front of some light source and adjust the exposure in your camera to the brightest part of your image (the background) rather than the subject. This way the subject will be underexposed (very dark, if not black).
There are a lot of technical descriptions on how to get great silhouette shots that you might want to check out, but let me go over a few basic steps that will get you the results you want. The key is to trick your camera into thinking that the brightest parts of the image are what you're interested in.
Here's how to do it:
1. Choose the right object
Almost every subject can be represented as a silhouette, but some are better suited for this purpose than others. Choose something with a clear and recognizable shape that will look interesting enough to the viewer, even in two dimensions. Silhouettes cannot be based on the colors, textures and tones of objects, so the shape must be distinct.
2. Turn off the flash
If you're shooting in auto mode, your camera may want to use flash, which will ruin the silhouette. IN in this case you want as little light on your subject as possible - so flash should be avoided (however, I have seen some experimental shots of silhouettes with flash on).
3. Choose the right lighting
When it comes to lighting your subject, you need to forget most of what you know about normal photography and start thinking in reverse. Instead of lighting the subject from the front, when shooting silhouettes you want to have most of the light coming from the background rather than the foreground - or in other words - you want to light the subject more from the back than the front. A sunset or sunrise is ideal for this purpose, against which you can photograph the subject, but in reality, almost any bright light source will do.
4. Frame the shot
Frame your subject so that your subject is in front of a nice, simple, yet vibrant background. Usually the best backdrop is a bright, cloudless sky with the setting sun. You need to place the brightest light source behind your subject (so that it is hidden behind it, or so that it is somewhere else in the background).
5. Create a clear and concise silhouette
If there is more than one shape in the frame that you intend to silhouette, try to maintain distance between the objects. For example, if you are making silhouettes of a tree and a person, you should not place the person in front of the tree or even ask him to lean on it, because in this case, the objects will merge into one form, and the viewer will wonder what it is.
Also, when composing your shot, you may want to photograph silhouettes of people in profile rather than looking straight into the frame. This way, more features (nose, mouth, eyes) will stand out, and the person will be more likely to be recognized.
6. Automatic
Most modern digital cameras have an automatic metering system that adjusts the exposure so that everything is well lit. The problem is that most cameras are so smart that they will light up the subject instead of underexposing it to create a silhouette, so you have to outsmart your camera.
Most cameras adjust exposure levels automatically when you press the shutter button halfway (while focusing). So point your camera at the brightest part of the image and hold the shutter button halfway down (and don't let go). Then move the camera back to include your subject in the frame, and then press the button all the way down and take the photo. On most digital cameras, this will give you a silhouette of the subject.
This way you trick your camera into thinking that the brightest part of the image is the midtones, so anything darker will appear as a nice deep shadow in the frame.
Some digital cameras also have spot or center metering modes, which can help you with the above technique because the camera will measure exposure at one point instead of multiple points. This means you can tell the camera exactly which part of the light background you want to adjust the exposure to.
7. Manual mode
If this technique doesn't work and your camera has a manual exposure setting or exposure compensation mode, you could try using your own settings. The beauty of digital is that you can experiment with the shot until you get the result you're going for.
An easy way to get started in manual mode is to look at the shutter speed and aperture offered by the camera in auto mode and start from there. If your subject is too light in Auto mode (i.e. you need to make it darker), lower the shutter speed a stop or two and see what happens. Use the “bracketing” technique I described in my previous article on sunsets and sunrises to take multiple shots with slightly varying exposures.
8. Focus
In most cases, you will want the silhouette to be clearly in focus. This complicates the process described in step 4, because when you press the shutter button halfway to meter the exposure, the background is being focused at the same time. To get around this, you can follow two strategies. First, if your camera has manual focus, you can use it. Focus before metering your exposure.
The second way is to use your aperture to maximize depth of field (the portion of the image that is in focus). Set a small aperture (i.e., a larger f/number) to increase depth of field—this will most likely result in a sharp background and foreground.
One final tip regarding silhouettes- a full silhouette, where the entire subject is black and sharp, can be very effective, but it's also worth considering a partial silhouette, where only part of your subject's detail is presented that way. Sometimes one small ray of light makes an object a little more voluminous and “real.” That's the beauty of bracketing - it allows you to choose between total and partial silhouettes.
Try silhouette photography - it's simple and can be artistically beautiful. It is rare to meet a photographer who would not try to photograph a person with the sun behind him so that only a silhouette remains.
If done correctly, silhouettes can become very striking and unforgettable, making your photos impressive.
Here are some tips for beginners on how to photograph silhouettes correctly.
- Illumination of the subject. The easiest way to photograph a silhouette is to use the sun as a backlight source. Positioning the subject directly in front of direct sunlight gives a clear and visually strong silhouette.
- Due to the color temperature and low position of the sun, the best silhouettes are obtained at dawn or dusk.
- Exposure for the background. You need to get the exposure correct so that the silhouette is clear and the photo comes together correctly. Point the camera at the brightest part of the composition (not the sun!) and half-press the shutter button to get the exposure settings that the camera gives. Remember and then set them manually on your DSLR (in M mode). Ideally, you need to get a high shutter speed (from 1/125 s) for a high-quality silhouette in photography.
Brigitta Szontagh
- Turn off the flash. This is another reason to use manual settings on your camera, especially if your camera has automatic flash. When using the camera in "auto" mode, it will most likely work automatically, trying to highlight the object and make it brighter. With the manual setting, you have the option to keep the flash off, which plays a key role in creating the silhouette.
- Come closer. Getting closer to your subject allows you to block direct light much more easily and also gives you more choice of angles to shoot from, allowing you to move around and find better composition.
- Focusing. Set greater depth of field by manual adjustment. An aperture around f16 will ensure that your entire image is in focus. A fuzzy silhouette will look not like an artistic image, but like a mistake.
- Think about shapes. The silhouette must carry strong image. Therefore, if you are photographing a person, try to capture him in profile or ask him to spread his arms so that the dark figure does not look like a monolithic block against the backdrop of a beautiful sunset, for example.
- If you're shooting a stationary subject, try to find the best angle that will highlight the shape and bring the dark figure into relief. Keep this in mind. Why do you think trees are so popular? Because their silhouettes look great!
Don't forget the most important thing - have fun with the experiment and expect great results. After all, the photo is worth it!
Prepared by F. Svetogorov based on materials from foreign sources
The shadow is a romantic and mysterious image, having a sacramental character akin to a mirror. In some languages, the words "shadow" and "soul" are identical, because in many myths, the image of the shadow is the second "I", like the Egyptian twin spirit "ka". The images of the eastern shadow theater play the role of visual support for the narrative; this principle of perception was the basis for the ancient eastern wall images of Egypt and Mesopotamia. Looking at the images, the viewer “listened” to the reading of the sacred text or remembered well famous story, - this was to some extent the prototype of the shadow theater.
In an archaic form of shadow theater, shadows on the screen were created by hand gestures.
The legend regarding the origin of shadow theater is also gloomy and romantic: “The wife of the Chinese emperor died, he missed her greatly, and his subjects came up with the idea of showing his wife’s shadow behind a screen.” Thus a form of visual art emerged, dating back to around 200 BC during the era of Emperor Han Wu-chi. But it became widespread during the Sun Dynasty.
Shadow theater combines three types of art - music (instrumental or voice accompaniment), literature (stories and scripts), craft (making puppets) or painting (scenery and the puppets themselves) in one.
Then thin translucent silhouettes began to be cut out of leather, most often from donkey leather. And initially, this theater was called “donkey skin puppet theater.”
Later, figurines began to be made from all kinds of materials - thin transparent skin (goat, camel), paper or cardboard; they could be either solid and integral, or bendable, consisting of separate parts attached to each other. The height of the doll is most often 30 centimeters, but there are also large ones, 70 centimeters.
These figures were called puppets. The image of puppets itself has also been endowed with a sacramental meaning since ancient times: “Man is a puppet controlled by a deity,” argued the ancient Greek philosopher Aristotle. And another great philosopher, Plato, talking with his students, took a puppet in his hands and explained to his students that people, like puppets, are ruled by the threads of Good and Evil, Virtues and Vices. But you need to obey only one thread - the golden thread of reason. (“Golden” is the name given to the thread that controls the doll’s head.) From which we can conclude that this art is even more ancient.
The figurines were controlled using bamboo, wooden or metal sticks.
The silhouette in Chinese shadow theater expresses character. The shape of the eye, head, and posture are regulated by tradition and correspond to the role. One hand of the doll, as a rule, holds a weapon or other characteristic attribute, the other moves. The silhouettes of the Chinese theater were, unlike the silhouettes of shadow theaters of European imitators, painted. In Chinese shadow theater, the technique of demonstrating projections was somewhat different from that of European theaters. In the Chinese theater, projections are made on a transparent screen, illuminating leather silhouettes from behind. The viewer sees not only the outline, but also the delicate color. In Chinese shadow theater, the silhouettes projected onto the screen are meant to be seen, which is why they are so intricate in outline and color. The viewer listens to the story, and at the same time looks at the projection on the screen. The characters illustrate historical epics, scenes from popular novels, tales, musical tales, legends, fairy tales, stories that were interesting and understandable to ordinary Chinese viewers. Shadow puppets were very expensive. Only rich people could afford to have them, and they were kept in rooms that were considered the most sacred place of the home. The set of the court shadow theater consisted of up to 600 shadow figures.
Shadow theater performances usually took place at night from sunset to dawn. In India, a huge screen was placed on bamboo poles in a well-compacted clearing. Behind the screen, a fire was lit from coconut shells; on the other side, somewhere under a mango tree, the audience sat. The narrator sat in front of the screen, and the villagers, holding their breath, listened to his story about the life of the gods and the exploits of the heroes of the folk epics "Ramayana" and "Mahabharata". The performance could go on for many nights in a row. And initially, children were not allowed to see such performances, but men and women watched theirseparately.
Pilgrims carried legends about the theater throughout Asia, and this is how it turned out in Mongolia. With the Mongol troops of Genghis Khan they spread to other regions of Asia and Europe.
Shadow theater reached its highest form during the Ottoman Empire in Turkey. Karagöz "black"
eye" - the hero of the Turkish shadow theater was the most popular.
The prototype of Karagöz was a very real Turkish blacksmith, brawler and hooligan. He lived in the mid-14th century at the court of Sultan Orhan and worked on the construction of a mosque. I really liked to chat with my friend the mason Khadzhivat. They told each other jokes one after another, so the work went very slowly. The Sultan found out about this and decided to execute both. Not for jokes, but for bad work. And he executed him, and then repented, but it was too late. Then, to console the Sultan, one of his entourage cut out the shadow figures of Karagöz and Hacivat and showed a performance in which the friends again acted out their jokes as if they were alive. They say this calmed the Sultan, and since then performances with the participation of Karagöz have been performed throughout Turkey. Plays with him were played by one person, who was called karagezji, he controlled the shadow figures and voiced all the characters in turn, changing his voice.
In the Middle Ages in Spain, the 3rd form of the tetra of shadows emerged, when for some time the artists were forbidden to go on stage, but they wanted to go out, they came up with the idea of performing behind a screen. Since then, the use of shadows of living people to show the performance has become known as Spanish shadows.
In Russia in 1733, a mention of shadow theater was in the newspaper “St. Petersburg Vedomosti”: “Other imitations of shameful games are made only by a shadow, which is directed in a dark chamber onto oiled paper. And although the figures shown in this way do not say anything, however "And from signs and other indications one learns what they signify. This shadow depicts many wonderful species and their applications, which in other shameful games cannot be done so well." The only large state Shadow Theater in Russia today was organized in 1937 at the Museum of Children's Books and it opened with the premiere of a play based on the novel “Till Eulenspiegel” by Charles de Coster (one of my favorite novels). It still works today. But his repertoire includes not only shadow performances, but also ordinary ones - puppet shows.
"Chinese shadows" were common in Europe in the 18th and 19th centuries. In 1767, before the French Revolution, the shadow theater technique was brought home from China itself by the French missionary Jules Alod. And here the shadow theater was so loved and shown a lot that it began to be called “French shadows.” And the shadow theater of Dominique Serafen in Versailles enjoyed the greatest fame.
The stories of the Seraphina Theater commented on modernity, depicting heroes whose types were recognizable. The projected silhouettes in this theater supported not epic narratives or even fairy tales, but a kind of anecdotes. In 1790, during a fierce struggle between different factions within the “Constituent Assembly” for the constitution, Serafin gave the play “National Federation” on the topic of the day; in 1793, after the execution of Louis XVI, the play “An Apple for the Fairest, or the Overthrow of the Throne.” The interest of educated Europeans in shadow theater with its specific form of storytelling, based on laconic visual images, was an integral part of the “salon” interest in folklore. Within two years, Serafin’s simple show became boring to the courtiers, and the theater moved to Paris. The Serafina Theater existed until 1859, when its heirs replaced the shadows with three-dimensional puppets.
Besides Serafin, the most famous shadow theater expert recent years Republic was the Belgian Etienne Gaspard Robert. Robert's show was called "phantasmagoria", which means "a collection of ghosts." It opened in 1797, two years before Napoleon Bonaparte declared himself dictator and brought an end to the Republic established during the early years of the Revolution. Life in Paris gradually became calmer and more satisfying. Mass arrests and executions stopped, the war moved away from the borders of France, and secular salons opened again in the city. Robert's performance took place in the ruins of the Capuchin monastery near Place Vendôme. During the performance, the author “revealed” to the public, with the help of an improved “magic lantern,” the “shadows of the dear dead”: Marat, Robespierre, Danton, Louis XVI and Lavoisier, as well as mythological characters: Hebe, Minerva, Medusa Gargon. Not least in the show were the Grim Reaper, the Wandering Monk, a character from the popular “Gothic novel” by M.G. Lewis, and other “macabre” characters. The shadows made a lasting impression on the audience. “Women fainted, brave men closed their eyes.” During the five years of the show’s existence, “the whole of Paris” visited the walls of the monastery.
In the ideas of Robertson, as he began to call himself, visual images play a more important role. 
independent role than in Chinese shadow theater. Most of the magic lanterns used for display were quite powerful, and were placed on platforms with wheels that allowed them to be moved quickly and silently along special rails towards or away from the screen. The rapid and silent movement of the lantern created the feeling that the image was approaching the audience, flying towards the audience, approaching them “from the depths of space.” As the flashlight approached the screen, the focal length changed. To instantly disappear the image, a device called a “cat's eye” was used - a plug with a triangular hole that covered the light source and instantly plunged the audience back into darkness. The next fundamental solution for Phantasmagoria was a translucent screen that transmitted color images and light through the fabric, as in a Chinese shadow theater. In Chinese theater, light shines through the silhouette puppets and the screen. In Phantasmagoria, the silhouettes depicted on a glass slide were surrounded by a black reflective background; they were perceived as completely autonomous, independently moving objects. Diving on the ladies the bats were projected by small lanterns held in their hands. About 10 lanterns could be used at the same time in the show. Flowing shadows were created by projection onto smoke. The summoning of "ghosts" was accompanied by sound effects, which were widely used in the theater of that time.
The desire for Robertson's gloomy productions was explained by the very legend (Chinese) about the emergence of shadow theater. Here, the images of the theater symbolized themes important to the public: political figures who died in the first years of the Revolution or characters from favorite Gothic novels. Robertson's "horrible" images were so successful that they survived the show for a long time. During the Napoleonic Wars, the secret police used this technique to frighten deserters as they attempted to escape from active units. They projected the head of Medusa and the Wandering Monk onto the trees of the forest at night to scare the officers who were trying to leave the unit without permission.
Images of “phantasmagoria” set the iconography of “macabre” pictures for the “home” magic lantern. For this reason, Robertson is considered the founder of one of the main genres of modern entertainment cinema - i.e. horror films.
Since 1885, there was another show in Paris, “which made all of Paris come running.” The revival of interest in the Chinese “shadow theater” was influenced by the aesthetics of Art Nouveau. The artist Henri Riviere was once sitting in a cafe, listening to a singer perform, then began to cut out little men from napkins and cardboard and show illustrations for songs. Everyone liked it so much that Henri Riviere created his own shadow theater.
And so, on Rue Victor-Masse, not far from Montmartre, the cabaret “Cha Noir” (Black Cat) opened, which was visited by many artists and writers, among whom were Emile Zola and Edgar Degas. Cabaret in those years had a slightly different reputation than it does today. It was an alternative to official secular culture. In 1887, coupletist Jules Zhou had the idea to illustrate his song on the topic of the day with a demonstration of shadows. The song was dedicated to the scandal in the government over the distribution of orders. The number was a huge success. This led the administration to think about a complete transition of the cabaret to a demonstration of shadows.
Famous French artists Caran de Hache, Henri Somm and others worked there. The Black Cat became a large theater: 10-15 people took part in the performances. Sha Noir's performances were intended for a more sophisticated audience. They showed “The Epic” dedicated to Napoleon, “The Temptation of St. Anthony”, “The Belly of Paris” (genre scenes), “The Sphinx”, “Going to the Sun” (about the Anglo-Burrian War). Henri Riviere paid great attention to lighting effects: special colored glass was made for each performance. Heavy zinc shadow figures moved using complex mechanisms. They were transported around the stage on special rails. The performances of the cabaret shadow theater were staged like productions of a “big” theater. It was not individual figures that replaced each other on the screen, as in a classic shadow theater, but scenes planned by artists. The theater existed until 1897.
The most famous shadow theater now is the Javanese Wayang Kuli: wax puppets
transparent paper on hinges, painted in various colors. Javanese shadow figures are controlled by puppeteers using canes and are made from buffalo skin. The skin takes a long time to process into a thin plate (1.5-3 mm) yellow color, i.e. into parchment. Then the master carver works on this plate, turning it into a “wayang” - a shadow doll. This profession is one of the most respected in Java. Carvers cut out silhouettes and cover them with openwork carvings. Then the painters paint them using only five colors: white, yellow, blue, red and black. Then the dolls are assembled: arms, legs and heads are attached to them. Finally, the control sticks are attached to the doll. For one performance you need 100-150 of these dolls.
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A room with no exit represents the mother's womb. The appearance of such a room in dreams reflects the conflict of authoritarianism and dependence between your mother and you. Try to determine whether you are safe in this room and whether you like being there, or whether you may be being unnecessarily held for other purposes. Do you want to get out of the room or is it your salvation from what the world has prepared for you? potential hazards?
Is your room a pleasant or painful place to be? The answers to these questions are essential for interpretation.
What do you feel in a dark room - peace and tranquility or fear and confusion? The feeling of peace symbolizes refuge or maternal support. Fear and confusion may indicate a loss of authority (yours or your mother’s) during the archetypal formation of personality, and threaten a change in roles.
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There are many testimonies of people who woke up and suddenly saw a black man in the dark.
Black man,
Black, black,
Black man
He sits on my bed,
Black man
Doesn't let me sleep all night.
We will not make any conclusions or assumptions, but will simply listen to people who have encountered this anomalous phenomenon:
I remember dark silhouette, dense darkness, just like a cut out of black cardboard, the brim of a hat, the outline similar to a full-length cloak... and that’s what else I remember, what (may seem crazy...) in the place of the right eye (where it is in theory it should be if you see his face) he had a flaunting partial moon... I remember the situation in the room, my parents sleeping nearby... the feeling... yes, there was a numbness... when your gaze is riveted and you can’t even look away, and you can’t move, not even a finger... but I can’t say that I was very scared then - no, on the contrary... but according to my feelings about the person - he was more impartial than evil or kind... I remember that he told me something, told me... for a long time and calmly. .. but no matter how much I try since then to remember at least one word from his story, I cannot...
First once I saw a black man when I was 8-9 years old. I woke up at night as if someone had woken me up. Without raising my head, I began to look at everything in the room, trying to make out familiar objects: I saw a table, shelves with books, a closet, and then a dense black clot - nothing was visible through it, I began to look up and saw a black hood, there was no face inside - there was everything was black and large oblong eyes without a pupil - yellow in color - looked at me point-blank. I was very scared, there was animal fear, I could not scream - I only had the strength to cover my head with a blanket, and then I fell into a deep, dreamless sleep. In the morning I thought that I had dreamed everything, because... I've never heard of this ( Soviet times), no one told it, especially on TV.
Some years ago I saw him too. I woke up, he was standing over me, I couldn’t move, at first there was no fear, only surprise. The dark figure of a man in a cloak, a matte black silhouette in which it is impossible to see anything. He was very explicit and clear. He leaned over me and stretched out his hands and plunged them into my stomach, I clearly felt how he was fingering my insides with his fingers. I woke up in panic again, this time it was a normal reality. Like a dream within a dream
Six months It's been a while since I saw him... But I still can't figure out whether it was CC or not...
Everything happened like a dream within a dream. That is, I dreamed that I was sleeping, suddenly I woke up (this all happens in a dream) from a strange feeling that someone was waiting for me. I get up from the bed, go to the window and see the shadow of a man. No peeking eyes were observed. Just a black silhouette. He raised his hand and pointed to the sky. There were TWO moons there. Then I turn to the bed, and it’s already sitting on it and telling me something while gesticulating.
And so I keep thinking, what if I woke up in reality, would I see him? Could it be that Black appears in a dream?...
I I also saw a black man. I think that this essence came out of my husband while he was sleeping. His body is as muscular as a black man's. He lifted my body easily and laid it on the floor by the door. tried to have sexual contact with me. When I touched him, thinking that my husband wanted to make peace with me, he had fur like fringe on his sides. I cried out, “Oh my God,” and was immediately transferred to the sofa. Next once he timidly and timidly sat at my feet in the moonlight. I said again, Lord, and he disappeared like a Gogol character. Doesn't come anymore.
I I saw him for the first time at the age of 5... I also have him in a raincoat, tall, his eyes are burning (red), he just stands there and looks... and at that moment I can’t move, speak or anything -do... But the more often he came, the better I felt, at the moment, when he comes, my right leg is taken away, and I can communicate with him mentally... He tells me some parting words, that do, etc. But they told me that I couldn’t talk to him and it’s just my power that I don’t use... And when I started saying Namaz (the five-fold prayer for Muslims), he stopped walking.. What’s strange, with For 5 years he came to me in different times and in different places... we often hung out... and when I began to pray, he also stopped pursuing me... I was absolutely not afraid of him...
U I was like this...
I don’t know what. I wake up at 7 o'clock to study. That time I woke up from the heat at 6.55. Thinking that I would have to get up soon, I threw the clothes off my feet so that it wouldn’t be too hot, crossed my legs and closed my eyes. The room had light from an aquarium.
After some time I feel that my heel is being tickled. I open my eyes and see someone standing at my feet. Human outline, tall. At first I thought it was the father, but I remembered that he was not at work.
I ask him:
- What?
- Get up soon.
- When?
- After a minute.
I turn around, take the phone, it’s 6.59.
I looked, he wasn’t there. I don’t know who it was. He answered me in a calm voice. I didn't feel afraid. There was even some kind of indignation that they were tickling... I didn’t see him again..
co it came to me when I was a child too
At first it was when I was 5-6 years old, he stood at the door but didn’t come inside, my grandmother was sleeping peacefully next to me, I never managed to wake her up, he appeared for several weeks, then I just got tired of being afraid. I remember that night well, he didn’t even stand at the very doorway, but rather even half-hidden by it, I repeated to myself to him, go away, go away and kept looking without taking my eyes off, so the whole night passed with dawn, he left and did not come for quite a long time, so Another thing, the next morning I experienced great relief, but at the same time some feeling of guilt appeared
then he came when I was 10-11 years old, then I already began to understand that it was him, I began to follow him more closely:
appearance:
a black man, definitely voluminous, looks like a clot of fog or something like that, black dense hollow, it seemed to me that he has bones but they are quite hollow like birds in plumage, I didn’t see a hat, tall (above 1.2 I can’t say more precisely , but he was DEFINITELY taller than me)
he also definitely has eyes and a mouth, but they are hard to see, I can’t say about the nose, but there’s definitely no gap
behavior:
At first, as in childhood, he simply stood at the door, but the less I was afraid of him, the more active he became, soon he began to wave his hand at me (as if he was saying hello), then he began to walk around the room, never showed any aggression, and then completely disappeared until I don't see him anymore
I I also saw something similar when I was a child. But these memories do not leave my head. It was morning, I slept with my feet towards the balcony. I woke up because someone was looking at me intently, there was no one in the room except me, I listened, my mother and grandmother were in the kitchen, without moving I looked first at the ceiling then at the balcony, there stood some creature that looked like a silhouette of a person, just as if someone had drawn him, he had no face, no eyes, nose, lips, nothing. he didn’t move, he just stood (for about 3-5 minutes) and I felt that he was looking at me. I was so scared that I couldn’t move or say anything, I closed my eyes tightly, and when I opened my eyes he disappeared.
then he didn’t appear, but since then I’ve been wildly afraid of the dark (when the lights suddenly turn off, it seems to me that someone is looking at me, and this picture from childhood appears before my eyes) and being alone in the room
I I also saw this -black man-. I was very small, I was probably 2-3 years old. I slept with my mother, and at night, like all people, I tossed and turned a lot. And then one night, as I was turning over, I opened my eyes and saw him. He stood over the bed and looked at me with red burning eyes. It was a black silhouette in a raincoat and a huge brimmed hat. He stood and spoke. And I clearly remember what he told me. He kept repeating -two-, -two- and showing it with his fingers. I, looking at him, turned over on the other side and fell asleep soundly, not at all afraid. But I still clearly remember how he whispered -two-..
Not I know whether this is it or not...
I dreamed of a similar person in my childhood. He was not present at my bed, did not speak to me, he simply stood on the corner of the house in which I live, in some unnatural, motionless, broken pose. His eyes glowed red, he himself was completely black. Then, it seems, I dreamed that he was coming out of a dark closet.
Since then (I dreamed about it when I was 5 years old, now I’m 20) I haven’t forgotten him; in a dark room, if I suddenly expect to see something unpleasantly supernatural, it’s him. I didn't think anyone else had seen something like this.
U I also had something similar, it was like a waking dream and scary. in a dream I was in the entrance of the house where my aunt lived, I don’t remember the details, but someone started approaching me from behind, I became scared, I looked back and saw a man in black and a hat with a brim, his face was not visible, that’s all black, he chased me, I was seized with horror, I ran, he pulled his hands towards me, I began to fall face down straight onto the stairs, and then the most incomprehensible thing happened to me: during the fall, I began to wake up, opened my eyes and saw for some time As if in reality, my face and hands physically felt the touch of the stairs on which I fell, and a feeling of flying upward appeared, then horror seized me, and I finally woke up. I lay on the bed, breathing quickly, as if from a jog, and in the same position in which I fell on the stairs in my sleep. For a long time I could not recover from this state. I was about 18-19 years old. And still remembering this, I am scared by this image of a black man.
IN 15 years old woke up at night from a feeling of fear, a creature about 2 meters tall in a black cloak and bright red eyes stood by the bed. It stood motionless for 3 minutes then disappeared...
Food for thought:
1. In the myths of the Indians of South America, CH is a werewolf animal created by a sorcerer, capable of turning into a human and having unnatural sexual relations with women.
2. In the literature G.F. Lovecraft, CC acts as the shepherd of the Black Mass, he appears to people prone to superpowers and helps them go through the initiation rituals of the cult of the Ancient Gods. More often appears in a dream or a state of borderline sleep.
3. In the esotericism of the CC, this is an egregor created to perform various functions (energy protection/blockade, attack, etc.) By the way, an egregor can be sent to anyone, but such creatures do not have their own mind, rather a residual consciousness.
I had this dream when I was young. Then I was still in school, around 8-9 grade. Not that he was the most terrible, but definitely one of the most significant. After this dream, I literally went crazy. At that time, I lived in Russia, in a small town that was more like a large village. The only entertainment I had was books on the occult, which I purchased in the regional center. I was a teenager who did not want to accept the typical fate of a rural peasant, and longed for other worlds and a different fate. I practiced various magical rituals that I found in my books and even invented my own.
One evening I went to bed and woke up in the morning. I looked out the window and suddenly a shadow flashed through it. I wanted to get up, but I realized that I couldn’t move, my whole body was paralyzed. Then something looked through the window: it was darkness, not a face, but its eerie outlines, blacker than black. It looked in and disappeared again. And then in the window I saw a terrifying black silhouette that was clearly watching me. I wanted to scream, but I couldn't. Then he walked through the glass and jumped on my chest. He growled as if he were an animal and his movements were very fast. It was a clot of black fog, the silhouette resembling a human figure. Suddenly he dug into my chest. I felt terrible pain, emptiness and all my defenselessness before the power of this creature. Then he buried his head completely in my chest and disappeared. I could move again, but continued to experience pain.
It was a completely physical feeling of emptiness in the center of the chest. If someone has ever fallen deeply in love unrequitedly in their life, it will be easier for them to understand this feeling. So, it was both similar and, at the same time, completely different. It was as if a piece of my flesh had been ripped out and cold darkness was placed there. This aching pain did not go away for three days. I clearly felt something alien inside me.
And then my madness began. I began to hear strange voices that no one else had heard. One day I went to bed in my bed and woke up at night, sitting in the lotus position, at the other end of the room. Strange images and visions began to visit me. One evening I was lying in bed and my desk began to vibrate violently, books and other objects fell from it. So, my madness began to manifest itself in the material world and this inspired me with real animal horror. One evening I walked into the room and saw four black silhouettes there. They were exactly the same as the one that came before, only this was definitely not a dream. I was paralyzed with fear. I reached for the switch and when I turned on the light, the light bulb exploded! In horror, I ran out of the room into the hall where my brother was. I tried not to act like a crazy person, but I still told him that I saw a ghost in the room and asked him to come there with me. My brother replaced the light bulb, but did not find anything unusual. That night I slept with the light on. Afterwards, I was haunted for a long time by hallucinations: auditory and visual, often manifested physically, such as the sudden falling of objects. Dreams in which I was paralyzed and there were creepy creatures in the room were repeated more than once. And I began to look for information on this issue. It turns out that there is such a disease:
Night demon syndrome
Such a disease is not uncommon in psychiatric practice. Patients suffering from this syndrome described the same symptoms that I had: the body is paralyzed, and there is a monster or demon nearby. If he enters into any interaction with a person, then all the sensations are very realistic. In addition, you do not wake up from sleep, the image just seems to melt and the body gains the ability to move.
Doctors explain it as follows. Some people tend to open their eyes in their sleep. The body continues to sleep and the subconscious controls everything. A person sees the surrounding space with open eyes and the dream begins to be projected onto him. Then a monster may appear. At least I was relieved that I was probably just sick. After all, it is better to be crazy and have hope of recovery than to be haunted by real demons. After some time, the hallucinations began to gradually weaken. And then a period of experiments with hallucinogenic plants began in my life, in my first year at university. They probably cured my sick mind. Now I see images only when I specifically enter a kind of meditative trance, and they no longer come into my life arbitrarily. However, night demon syndrome never completely left me. I read that there is no cure for this, but I no longer have a fear of it.
Black man - verse. Pushkin A. S. 1831
Gives me no rest day and night
My black man. Follow me everywhere
He chases like a shadow. And now
It seems to me that he is with us...
Black man - verse. Yesenin S. A. 1923
Black man
He sits on my bed,
Black man
Doesn't let me sleep all night.
Black man
Runs his finger over the disgusting book
And, nasal at me,
Like a monk over the deceased,
Reads my life
Some kind of scoundrel and drunkard,
Causing melancholy and fear into the soul.
Black man
Black, black!
Listen, listen, -
He mutters to me,
There are many beautiful things in the book
Thoughts and plans...
BLACK SILHOUETTE
In another area Rostov region Tarasovsky also recorded sightings of some “strange women”. As local resident A. Deinichenko writes, the event caused a commotion in the village of Mityakinskaya in 1988, where it took place.
On the outskirts of the village, four humanoid silhouettes appeared on a hillock in broad daylight. Witnesses to the incident were unable to clearly and in detail describe their appearance, because the sun was behind the silhouettes, creating a backlight effect. The mysterious creatures stomped around for a few minutes on the top of the hillock, then disappeared. But then the “materialized?” appeared. in the courtyard of the house where a middle-aged collective farmer lived.
The latter was standing on the porch at that moment. Noticing the “monsters,” she screamed in a heart-rending voice and rushed into the house. And the “monsters” moved after her. The mistress of the house found herself under the blanket on the bed, she doesn’t remember how. Several times she looked out from under the blanket and, fainting with horror, watched as the “monsters” wandered back and forth around the room.
According to the witness, all four creatures looked like women. The height of one of the “women” did not exceed one and a half meters. The other was a head taller. And two more women turned out to be giantesses, each more than two meters tall. Their bodies were tightly wrapped in light green overalls, similar to sports tights. There are something like hoops on their heads.
A few minutes later, the “women” suddenly and synchronously melted into thin air...
And again Krasnodar. 1991 Alla Zakharovna N. and her daughter Elena tell the story, interrupting each other.
Mom works as a janitor in a hostel, and I am a librarian... Alla Zakharovna:
What I want to tell you about happened at our country dacha. I wake up suddenly at night, at two or three o'clock. I think: what is it? What woke me up? I wanted to roll over to the other side, I felt it, I couldn’t! Neither arms nor legs obey. And in the head... No, not pain. Some kind of compression. Well, the brain has definitely turned into a multi-pound weight. I hear: someone seems to be mentally, that is, right inside my head! says: “Come with me.”
I can't open my eyes. I think: who is calling me? Just in case, I answer, also mentally: “I’m not going anywhere.” And I’m lying there, thinking, what’s going to happen next?
I couldn’t sleep until the morning...
That very night, the grandmother, who lived in the country house next door, was sitting on a bench in front of her house. She couldn't sleep. So, she claims that she saw a blue ball flying in the sky over our dacha.
Alla Zakharovna:
Ten days passed. Again I suddenly wake up in the middle of the night, but this time in our city apartment in Krasnodar. I get out of bed and begin, without knowing why or why, to wander back and forth around the room. And suddenly I heard a familiar female voice... He began to read me something like a popular science lecture. Like, our Universe is an ordered system, and the Earth is only a part of it, one of the cogs of that system. Well, in that way.
Mommy, you better tell me about what happened a couple more days later. Alla Zakharovna:
And this is what happened. I had a headache in the evening. I went to bed, but could not sleep. I was spinning and spinning, thinking: should I take an analgin tablet? And then a voice, heard, as before, right inside my head, says: “I will help you.” But this time it was not a woman’s voice, but a man’s! Again an overwhelming burden fell upon me. I can't move. I'm lying there like a statue. She barely opened her eyes with the greatest difficulty. I see a dark silhouette towering next to the bed, two meters tall, or even taller. He leaned over me. Completely black silhouette. For some reason I wasn’t scared, I wasn’t even surprised. I’m lying and somehow distantly I think: “I should turn on the sconce lamp hanging above the bed...” As soon as I thought this, I felt my arms and legs regained their former mobility. I reached out with my hand to the table lamp. She pressed the switch button. The light bulb flashed only for a moment and then burned out. The second it flashed briefly, the black silhouette disappeared.
Well, what happened next happened in my presence. Two or three days passed after the black silhouette's visit. In the evening, I see my mother suddenly fall on the sofa. Deathly pallor covers her face.
Alla Zakharovna:
Again I was completely paralyzed. I realized “this” is starting again. She mentally screamed to herself: “I don’t want to, I don’t need it! Leave me alone! Get out!..” Silence in response. Tired of my own mental screams, I asked in despair: “What did you come to me with? With good or with evil? I hear a man’s voice: “We came with goodness.” I started screaming again: “But I’m not ready to communicate with you, whoever you are! You see, I'm not ready. Go away. Leave me alone!" And the enormous weight that had been pressing down on my body moved somewhere to the side. Lena:
And a few days later, my mother and I saw the one who was “pressuring” her. Yes, I also saw it with my own eyes!
Alla Zakharovna:
It was again late at night. I wake up from a familiar and extremely unpleasant sensation: the heaviest invisible concrete slab is lying on me. I screamed out loud in despair and fear. My daughter heard my scream and jumped up in her bed. And we saw a natural miracle.
A dark humanoid silhouette stood next to my mother’s bed. He has a small square in his hands. And in the center of the square there was a glowing circle the size of a three-kopeck coin. The silhouette moved the hand in which it held the square. Without touching my mother's body, he drew a square over it from head to feet. Then my mother and I woke up around three in the morning. We were awakened by a loud buzzing sound.
Alla Zakharovna:
We see a familiar silhouette moving around the room.
He approaches Helen, who is lying on the ottoman, bends over her and puts a short stick, the tip of which glows brightly, to her temple. The daughter screamed sharply when the glowing end of the wand touched her head.
In the morning I discovered a round burn spot on my temple, very red...
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