Tag 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.

Those heights are not conceivable or comprehensible by minds not completely free

I’m re-posting this old nugget as it is directly related to the 2 most recent that I have posted; Know Thyself: self-observation for the purpose of understanding ourselves “both as Individuals and Part of the Whole.”

This was Tavaglione’s introduction to his tarot deck. In creating the Stairs of Gold Tarot, he was inspired by these words from Dante’s Paradiso, “I saw a stair the colour of gold, on which shone a ray of Sun, which raised itself so high that my eyes could not see the top….”
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“I would do nothing else but pick flowers, and wander through meadows and gardens, gathering all the beautiful and most coloured my eyes and my spirit could see…but it happened that when I picked the first coloured diamonds, my curiosity flew up and I would “know” and I would “learn”.  And while at first my questions were limited only to their aspect, and I would know many Petal-Facets had the Diamond-Flowers I was picking, later I would know their Inmost Secret Light, their Why.

As I could not study all the Flowers my eyes took in, I devoted myself to the nearest ones, trying to understand with them, all the others, seeking inside them the Key that would permit me to open every other Door.
And then I realized that the more I penetrated the “Particular”, the more I descended to the “Depth”, the more I rose to the “General”.  So to understand that infinity of the Flowers around me, I began to study, with great care, One of Them, that could mean the most to me, the nearest one: myself.
And I tried to discover how many facets had that Flower-Diamond; its Cut, its Axis, it’s Colours, its Transparency, its Scent, to penetrate its innermost recesses, the “Secret Rooms” where are preserved the Most Intimate Values, the Hidden Treasures concealed by Veils.
To reach them I found it was anything but simple, because still before entering, I should curb the Beast that guarded them, the Animality always excluded from any Architecture, and any Rationality of Thought, bestial and resentful, because of its inferiority, it must be subdued by Fight and physical Strength or by Command and Moral Strength: once curbed it will be a tractable companion, but like every subdued wild beast, it will always assault us, when hesitating.
After the Beast, there is the Labrynth, consisting of 78 rooms, and 3×7 = 21 Gates; in every Room there are Prizes and Traps, Traps playing on what remained inside us, of the false ideas or the mental distortions that follow us from the preceding rooms, with which we must do away, and the Prizes playing on our Intuition and Illuminations that let us know, on the grounds of what we have learnt till now, what awaits us in the next room and that will be clear only in the future.
The 21 Gates are unforeseen gleams on the future and though one can find some difficult ties to reach and pass them, he has the Certitude of his Growth and the Consciousness of his accomplished conquest, that instill new life into his desire to go on Knowing and infuse him with new courage to face future difficulties.
The Utmost Gate, that closes the Utmost Room, the Sancta Sanctorum, is the Gate of Totality, the Conclusion that leads to our Essence, complete of everything Spiritual and Material.  When we will overcome that Utmost Barrier, we will be Ourselves, at the height of our Beings conscious of our Liberty, both as Individuals and Part of the Whole, Then behind the Veil, stretched between the Two Colums, the Black one and the Red, we will foresee the Roots of the Tree, that through its 10 points, will lead us up to heights where neither the most presumptuous of men can imagine, because those heights are not conceivable or comprehensible by minds not completely free.”
– Giorgio Tavaglione: Introduction to The Stairs of Gold Tarot Deck.
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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 kabbalistic-alchemical altarpiece in Bad Teinach

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The kabbalistic-alchemical altarpiece in Bad Teinach – Copyright Adam McLean From the Hermetic Journal 12, Summer, 1981, pages 21-26.

“The Kabbalistic-Alchemical Altarpiece in a small church in the town of Bad Teinach near Calw in Germany, is, I believe, of the greatest esoteric value.

I have at present little information on its outward history, though it is dated 1673 and seems to have been prepared at the instigation of Princess Antonia (1613-1679), so I will therefore concentrate in this article on the symbolism of the painting.
The painting’s central panel, which is all we shall concern ourselves with here, shows us a Rose Garden surrounded by a hedgerow bearing red and white roses. Outside the garden in the background on the left is a four-square military camp, while on the right we see a city founded on a circular plan. In the centre foreground, a bowered gate opens into the garden and a female figure is seen standing upon the threshold, pausing at her entry to gaze at the wonders before her. She bears in her right hand her flaming heart, while on her left she leans upon a staff in the form of an anchor cross. Thus she represents the Soul of Man standing at the threshold of spiritual illumination, with the fire of enthusiasm and love burning within the heart, and the anchored foundation of the Soul in the central mystery of the Cross of Christ.
The Soul gazes into the garden, and here we are reminded of the Rosarium or Rose Garden of the Virgin, the medieval picture of the enclosed domain in which the human soul can commune with the Sophia-Wisdom aspect of the Spirit. Within this Rose Garden are two realms – a circular garden and a domed Mystery Temple. The soul must first traverse the circular garden before the soul reaches the outer court of the Temple which stands upon a podium of seven steps.

THE CIRCULAR GARDEN

The garden is centred upon the figure of the resurrected Christ, standing upon a rock and holding his Cross. From his body there flows a stream of blood forming a pool at the centre of the circle. Around him the garden is segmented into three rings of twelve flower beds each bearing their own particular plants, and we see 12 figures standing around the circumference of the inner ring (which is within the pool of the Christ Blood). These twelve figures are constellated with an array of symbols which are too complex to analyse here, but for example they appear with various animals, they hold symbolic objects, have certain colourings and they each stand at sacred trees which grow at the boundary of the inner ring. These trees are as follows, counting clockwise from the figure just to the right of the Christ :-

Laurel – Cypress – Willow – Fig – Cedar – Fir – Olive – Apple – Pomegranate – Almond – Palm – Oak.”

For the rest of the description, please see here: http://www.levity.com/alchemy/bad_teinach.html

The Glass Bead Game

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“Anyway, in the isolation of Castalia, a new art or science will be perfected. It will arise first in the music academies, where a system of glass beads of different sizes and colors, strung on a frame like an abacus, is used to represent musical themes and the rules of counterpoint, allowing themes to be reversed, transposed, and developed. Problems and challenges in music theory can be set and solved with the game in interesting ways. Soon other disciplines, philology, physics, begin to see ways to employ and expand the symbol sets. “Mathematicians in particular played it with a formal strictness at once athletic and aesthetic.” (“Strict” and “strictness” are ubiquitous words in the book.) From Chinese beliefs that music can model the structure of heaven and earth—and from the expressive possibilities inherent in Chinese ideograms—come further developments, until it will be possible for players of the evolved game to deploy a language of symbols (the glass beads themselves long since given up) to unveil the real relations among far-flung products of intellectual endeavor: perhaps a first theme of a Scarlatti sonata evoking an equation mentioned in an Arab manuscript, answered by an oddity of Latin grammar in one direction, a fragment of Parmenides, or a rule in Vitruvian architecture in another. When players begin to practice meditation techniques, games will become at once more personally expressive and more universal. Top players will introduce new symbol sets—alchemical emblems, the I-Ching; in weeks-long festivals their games induce in observers ineffable experiences of insight.”

WHAT IS THE GLASS BEAD GAME?

Taken from http://www.glassbeadgame.com/

Herman Hesse’s Nobel Prize Winning Novel,

The Glass Bead Game

lays the foundations for an Artistic/Conceptual Game, which integrates all fields of Human and Cosmic Knowledge through forms of Organic Universal Symbolism, expressed by its players with the Dynamic Fluidity of Music. The Glass Bead Game is, in Reality, an Age Old metaphor for what has been called, the “Divine Lila” (Play or Game of Life). This metaphor has been expressed by every great Wisdom Tradition known to man, and its players, the Magister Ludi (Masters of the Game), use as their instruments Ancient and Modern modes of Symbolic Wisdom traditionally presented through Sacred Art, Philosophy, Magick and Cosmology. For a more detailed elaboration of our vision of the GBG, see:

THE GLASS BEAD GAME

http://www.sacredscience.com/store/commerce.cgi?page=GBG2.htm

David Bowie’s “Sunday” from the album Heathen with text from Hermann Hesse’s novel “The Glass Bead Game”

“Nothing remains
We could run when the rain slows
Look for the cars or signs of life
Where the heat goes

Look for the drifters
We should crawl under the bracken
Look for the shafts of light
On the road where the heat goes

Everything has changed

For in truth, it’s the beginning of nothing
And nothing has changed
Everything has changed

For in truth, it’s the beginning of an end
And nothing has changed
Everything has changed

In your fear
Of what we have become
Take to the fire
Now we must burn
All that we are
Rise together
Through these clouds
As on wings

In your fear
Seek only peace
In your fear
Seek only love
In your fear
Seek only peace
In your fear
Seek only love
In your fear
In your fear
As on wings

This is the trip
And this is the business we take
This is our number
All my trials
Lord, will be remembered

Everything has changed” – Bowie