Category Archives: Transformation

Visualization in Medieval Alchemy – alchemy as a science and an art aimed at the transformation of species

In Arabic classifications of science and philosophy, which were adapted in the twelfth century, alchemy was defined as a sub-branch of natural philosophy (scientia naturalis), sharing this definition, above all, with medicine. Thus, about ten years after the first translation of an alchemical text into Latin (Morienus, De compositione alchimie), Dominic Gundissalinus described alchemy as belonging to physics in his De divisione philosophiae (ca. 1150).[6] It was a science and an art aimed at the transformation of species

In the thirteenth century, representatives of Platonically-oriented cosmology and natural science such as Robert Grosseteste (1175-1253) defended a systematic use of geometrical representation. Following Grosseteste, “all causes of natural effects must be expressed by means of lines, angles, and figures, for otherwise it is impossible to grasp their explanation”.[24] The corresponding theory of knowledge was neo-Platonic and Augustinian. The intelligible order underlying the physical, corporeal world was thought to be apprehensible by the divine part of the soul, by the ‘eye of the soul’, and geometrical figures (as well as number patterns) were used as ‘ladders’ leading to eternal truths.

The early fifteenth-century Aurora consurgens marks a further step in the elaboration of pictorial metaphors combined with glass vessels. The oldest and most spectacular copy of this document dates from the 1420s (Zürich, Zentralbibliothek, ms. Rh. 172). On a purely pictorial level, an inventive and high-quality artist developed a core of recurrent alchemical metaphors that relate to human and animal procreation, the dismemberment of bodies (symbolizing calcinations and putrefaction) and motifs such as the eagle and the dragon, which denote mercury as a volatile and as a solidified substance, respectively.[75] In and around glass vessels, the artist metaphorically depicted stages of operation relating to the alchemical art of transformation as well as cosmological and philosophical principles of the art, such as “two are one” and “nature vanquishes nature”. Two or more principal metaphors are frequently combined within a single picture, reflecting the increasing use of chains of metaphors. For instance, one of the illustration combines the motifs of Mercury decapitating the sun and the moon with a vase filled with silver and gold flowers

Figure 11: Zürich, Zentralbibliothek, ms. Rh. 172, fol. 27v. Aurora consurgens (ca 1420-30). Mercury in the form of a serpent decapitating the Sun and the Moon. Gold and silver flowers in a vessel on the fire.

For the full article from which these extracts were taken, go to the link below

Source: HYLE 9-2 (2003): Visualization in Medieval Alchemy

Two Levels of Love – Mars-Venus and Uranus-Neptune by Dane Rudhyar | Rudhyar Archival Project | Astrological Articles

That Neptune-pervaded love is not a feeling of (as ordinarily meant) compassion for whatever experiences suffering or deprivation. This love is an act of transfiguration, a flow of light, a song of tenderness; it is mother love as well as lover love, for it seeks to hold everything — and, of course, more particularly, the object upon which the love is then focused — in the vast openness of a consciousness for which every contact is, or tends to be, a dissolution of boundaries and an absolution for past fears, refusals or sins.

As Venus is polarized by Mars, so is Neptune polarized by Uranus. Neptune is the “lashless eye” of divinity, always open to absorb light and receive the messages of need and longing from whoever is ready for transfiguration; Uranus is the response of the eye, the glowing glance that, to the individual yearning for release from the cyclic involvements of normality and productivity, is an intoxicating drink of “living waters,” a song of peace beyond yet through all tragedies.

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via Two Levels of Love – Mars-Venus and Uranus-Neptune by Dane Rudhyar | Rudhyar Archival Project | Astrological Articles.

The Opposite of Love Is Power… Not Hatred – C.G. Jung | Dr. Peter Milhado

By Peter Milhado PHD on March 9, 2014

 

There are two kinds of suffering.  Suffering imposed on us by the outside and suffering created by ourselves.  All we can do with suffering imposed by the outside is share it in the human family and show compassion, love and empathy for those who’ve been hurt.  Suffering created by ourselves is referred to as neurotic suffering i.e. ‘inauthentic suffering’.  At bottom, neurosis is a moral and ethical problem.

In other words symptoms like neurotic anxiety, depression, compulsions, ulcers, headaches etc. occur primarily because we try to manipulate others.

We do this in a variety of ways…i.e. blaming, withholding feelings and affection, using guilt to have others do our bidding, temper tantrums and primarily abusing power.  The opposite of love is power, not hatred.

[ … ]A calling may be postponed, avoided, or intermittently missed. It may also possess one completely. Eventually it wins out and makes its claim either in a soulful life, or if ignored, in meaninglessness, cynicism, hoarding, loneliness and alienation.

The dragon we must slay is no more that the monster of everyday expectations about how we “ought” to live our lives. If we realize this, we will be back in the world, but “no longer of it”. We will be able to interact with others without submitting to their definition of who we are supposed to be! This precious pearl that is one’s individual worth can only be found when we are willing to stand alone. By consciously choosing to pursue the inner journey, we transform impersonal fate into our own personal destiny.

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via The Opposite of Love Is Power… Not Hatred – C.G. Jung | Dr. Peter Milhado.

Jung’s Active Imagination | Reality Sandwich

“More abstractly,  it’s a method of consciously entering into a dialogue with the unconscious, which triggers the transcendent function, a vital shift in consciousness, brought about through the union of the conscious and unconscious minds. Unexpected insights and self-renewal are some of the results of the transcendent function. It achieves what I call that elusive ‘Goldilocks’ condition, the ‘just right’ of having the conscious and unconscious minds work together, rather than being at odds. In the process it produces a third state more vivid and ‘real’ than either; in it we recognize what consciousness should be like and see our ‘normal’ state as at best a muddling-through”

by Gary Lachman

Jung’s Active Imagination | Reality Sandwich.

“”The ancestors. They are in our bones. Remember.”

“When societies lose their initiation practices, new ones emerge, for rites of passage are hardwired in the human psychological formula.”

“The classic tarot deck is a great representation of this, as it parallels the esoteric Jewish Kabbalah, in symbolically showing us the four levels of magickal morphogenesis through the suits of the wands, cups, swords, and disks. An idea begins in the archetypal ethers, funnels into the realm of dreams, visions, and emotions, moves down into the realm of thought and mental activity, and then finally becomes manifest reality.  Initiation, because it is such a psychically impactful experience, can affect all four realities at once in impressive and synchronistic ways, leading to a revived belief in apophenia. [the experience of seeing patterns or connections in random or meaningless data.] Again, initiatory experience is about reconnecting the separated aspects of the psyche. Ideas, emotions, thoughts, and physical things may quickly shift, as the psyche attains a new level of integration.”

via 21st Century Guide to Cross Cultural Initiation | Reality Sandwich.

P.D. Ouspensky: Strange Life of Ivan Osokin – Ivan-Osokin.pdf

“At six years of age Ouspensky was reading on an adult level. Two books made a strong impression on him—Lermontov’s A Hero for Our Time and Turgenev’s A Sportsman’s Notebook. Lermontov’s book is noteworthy since the ideas it expresses—the plasticity of time and questions of predestination, fate and recurrence—are those that would occupy Ouspensky throughout his life. As a young boy Ouspensky disliked school, finding the work dull. At sixteen he discovered Nietzsche, whose idea of eternal recurrence would remain a lifelong interest. He left school the same year. In 1905, at the age of seventeen, his mother died. That year he wrote his only novel (not published until 1915), The Strange Life of Ivan Osokin.”

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http://www.gurdjiefflegacy.org/archives/pdouspensky.htm

Strange Life of Ivan Osokin – Ivan-Osokin.pdf. old link didn’t work – updated to add working link

Strange Life of Ivan Osokin is a novel by P. D. Ouspensky. It follows the unsuccessful struggle of Ivan Osokin to correct his mistakes when given a chance to relive his past. The novel serves as a narrative platform for Nietzsche’s theory of eternal recurrence. The conclusion fully anticipates the Fourth Way Philosophy which typified Ouspensky’s later works. In particular the final chapter’s description of the shocking realization of the mechanical nature of existence, its consequences, and the possibility/responsibility of working in an esoteric school.” – wiki

Alchemical Psychology, Part III – Silver

I can’t recommend this post highly enough.. wonderful, wonderful x

The Ptero Card

White and silver share a lot of the same qualities but Hillman breaks up the next chapter into two parts starting with silver; all things lunar and reflective. Silver allows reflection and is the means by which we mediate between psyche and the physical. The risk here is one of identifying with depersonalized images, becoming cold and detached from human life rather than using images as a bridge beween the psychic and physical worlds.

“The cool, silver psyche, though seemingly “unrelated,” can establish relations between the most burning issues and hold them together, yet without fusing them into a false compromise (amalgam). It mediates, attaching molten factions by means of its own detachment.”

042Hillman begins the chapter with a very startling idea that may be difficult for many moderns to hear. Particularly those who prefer to stave off pathological states by avoiding the black and blue stages whenever and however possible, but without…

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Rosarium Philosophorum; when you make the two into one..

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When you make the two into one, and when you make the inner like the outer and the outer like the inner, and the upper like the lower, and when you make male and female into a single one, so that the male will not be male nor the female be female, when you make eyes in place of an eye, a hand in place of a hand, a foot in place of a foot, an image in place of an image, then you will enter the Kingdom.

    Gospel of Thomas, 22

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(images: Rosarium Philosophorum)

The combination of substances and the union of opposites is a key element in the alchemical process. This is often represented as a mystical marriage of the lunar element representing the feminine, Sophia (wisdom) and the solar element, the male, Logos (knowledge/reason). These two opposing elements meet and are joined in what is known as the ‘chemical wedding’. This union creates something bigger and more powerful than the individual parts – the perfect integration of male and female energies – the hermaphrodite.

Withdraw into yourself and look..

Plotinus:

‘Withdraw into yourself and look; and if you do not find yourself beautiful as yet, do as does the sculptor of a statue … cut away all that is excessive, straighten all that is crooked, bring light to all that is shadowed … do not cease until there shall shine out on you the Godlike Splendour of Beauty; until you see temperance surely established in the stainless shrine-(Ennead, 1, 6, 9).

Alfred Kubin – The Guardian 1902-304-alfred-kubin-el-guardian-gardien-the-guardian-1902-03-peninkwashwatercolour

The Black Sophia and the Black Madonna

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The Black Sophia, Aurora Consurgens

The black figure represents the LUNAR Sophia, who has decended into matter and become caught in it.
“The black depths have covered my face and the earth is corrupt and sullied in my works, and darkness has fallen upon it, as I am sunk in the mire of the depths, and my substance has not been opened” ( From C.G Jung, Mysterium Conjunctionis)

According to Fulcanelli: ” In Hermetic symbolism, the black Madonnas represent the virgin earth, which the artist must choose as the subject of his work. It is the Prima Materia in its mineral state, and it comes from the ore-bearing seams buried deep beneath the masses of stone” (Fulcanelli, Le Mystere des Cathedrales.) Sophia in Gnosticism and in the Cabala bears both features of a virgin bride and those of the womb, the mater materiae. The seed that falls into it, according to the Aurora Consurgiens, produces a threefold fruit. And this fruit in her body is the tripartate Caduceus, the Christ-Mercury, the healing serpent, the curing water that flows into Hades to awaken the dead bodies of the metals and free his mother-bride.” From Alchemy & Mysticism,  Alexander Roob