View allAll Photos Tagged involution
Un giorno saremo troppo in basso nella catena alimentare per fare gli sbruffoni.
La crepa è il vuoto che inesorabilmente riconquista il suo spazio nel pieno.
:-))
The crepa (flaw) project is a little photographic project about flaws, their power and their significance.
Flaws are something similar to a life form. Emptiness that slow but steady gains on the solid matter.
Pega's photography blog @ www.pegaphoto.com
Involution.
消除對稱的皮層隧道網格獨特的組合記憶圖像複雜的大腦創造性的高點創造性的精神病人平躺,
циклы галлюцинаций разные сценарии бесконечно малые произведения интенсивное влияние напряжение тела исследованные эксперименты суждения дым,
luoghi verbali cambiamenti divisi immagini illuminate scene dimensionali lampeggianti feste coinvolte materiali giganti mondo grezzo laboratori realistici,
pensées en spirale littérature gouvernements états altérés cauchemardesques explications culturelles formation foules regards sinistres visions horribles,
kollektív tudat misztikus négyzetek mintázatok elrendezések struktúrák levezetése érzelmi átvitel koncentrációs példák,
結果を調べるテレパシー実験強化された詳細渦巻く山の疲れた手足の支配者の設計理想を禁止する支配的な力が市民革命を開始する計画を明らかにする始まります.
Steve.D.Hammond.
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Folding of the hibiscus petals following full bloom, just prior to final abscission.
Strong late afternoon sun, windy. Mixed ambient and flash. Camera 1.3 stops underexposed. Speedlight with reflector and grid 45° off axis left, roughly in line with the sun, standard exposure.
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Hiemal Myrle Crop Tee Smitten Kittens
Necklace - Razor Dog Tags - Flowers and Jewels
MeHoney - Shreya shorts - Reborn
Lales. Lala Belt Maze Soft Thighs
KNIFU. Involution Dropped Earring
Lyrium. Kitten Phone - Long Cable
Karimabad is one of the most famous towns in Gilgit-Baltistan. Located under the snow packed Ultar Mountain (7388 m) in Hunza valley, this town is awe-inspiring in scenery and tourist facilitation. The altitude of Karimabad is 2450 meters and it offers superb views to a number of mountain peaks and astronomical area of Hunza and Nagar.
The Hunza valley is affluent in fruit and crops engenderment. Wheat, barley, millet, beans and sundry vegetables are consequential crops while apple, apricot and pear are the major fruit of Hunza. Many of the world renowned mountaineers and guides belong to Hunza valley which reflects the involution of Hunza people in tourism of Pakistan.
Romania, 33 years after revolution...A big factory was there. This beautiful mansion was the technical library, accessible for everyone
Considered as simple space between dark matter with nothing much to mean. Pregnancy is the element of cosmic purification, the substance that gives motherhood, life to earth, its constant sanction. It is the element of communication in emptiness and dreams, the ability to conceive and recall a thought or idea by all means. The element of ecstasy and eternal spiritual aspiration,pregnancy creates ether and there consciousness can extend itself in any form, which interconnects in all languages the space which there are to even grasp to adorn the realm of pure idea and direct knowing, the element of formlessness, the love we bestowing. The inner-verse is the involution or the mastery of intuitive perception, and since pregnancy implies ether, the purification of emotion and the true self conception, The unknown has its mystical knowledge, the Seers have this awareness, which in societies power play is considered as foolish bizarreness. Behind your true free will, there is, ‘The divine Will', or space between, every virtue is an expression to discover beauty and what does it mean. THAT nothing is something and something is everything making all a figment of one projected dream, thus meaning only now is real and we never reach tomorrow, yesterday was manifested in the projection of the birthed now we are the GODs of our own reality we are whatever SEX we wish to be and we have the ability to be impregnated with whatever seed we wish to give birth too! 9 is a magical number in all realms research it! If you catch my wave you got my frequency, just a goddess with a little message nugget as you carry on your journey or maybe you’re here Just because my picture caught your eye, lol either way lol ❤ I love you!!
As a street photographer I photographed in Italy, USA, Mexico. Street Photography to me is encountering poetry in everyday life. At a deeper level I say that street photography is a visual documentation tool that allows us to know the world, society with its evolution or involution. From a personal point of view it is absolutely a way of life. I have even tattooed on my left arm “Street Photographer”. Street Photography allowed me to meet people from any part of the world, and I went to Los Angeles, one of my dreams ever. Every single day I'm on the street taking pictures, and I can’t imagine a different way to live.
Check out my work on: alexcoghe.com
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Inspiré par LE SYMBOLISME CELTIQUE _ Les MOTIFS CELTIQUES que l'on retrouve largement
en Bretagne (monuments , broderies , bijoux ............)
Un de ces MOTIFS est la SPIRALE .
La SPIRALE s'apparente au cercle ou à un système de cercles concentriques.
Le motif de la Spirale peut avoir été inspiré à l'origine par l'observation des turbulences de l'eau
courante mais aussi lorsque l'eau s'écoule dans un orifice vers le bas.
La Spirale peut indiquer une immersion dans les eaux de la Mort (Au-delà).
Ce qui expliquerait sa présence sur de nombreuses pierres tombales mégalithiques.
On peut également supposer qu'elle permet d'établir la relation avec les puissances
surnaturelles , et évoque le cycle lunaire : croissance et décroissance perpétuelle , de même
pour le cycle solaire avec les jours et les saisons.
Ainsi la Spirale évoque l'Evolution et l' Involution et tout système réversible.
ENGLISH
Inspired by THE CELTIC SYMBOLISM _The CELTIC MOTIVES that we find widely in Brittany
(monuments, embroidery, jewels ............) One of these MOTIVES is the SPIRAL. The SPIRAL is
similar to the circle or to the system of concentric circles. The motive for the Spiral can have
originally been inspired by the observation of the turbulences of the water but also when the
water passes by in an opening downward. The Spiral can indicate a dumping in waters of the
Death (Beyond). What would explain its presence on many megalithic gravestones. We can
also suppose that it allows to establish the relation with the supernatural powers, and evokes
the lunar cycle: growth and perpetual diminution, also for the solar cycle with days and the
seasons. So the Spiral evokes the Evolution and the Involution and any reversible system.
躺平、躺平主义是2021年开始在中国大陆流行的网络词语，指中国年轻群体中出现的“与其跟随社会期望坚持奋斗，不如选择‘躺平’，无欲无求”的处事态度。躺平的具体内涵包括“不买房、不买车、不谈恋爱、不结婚、不生娃、低水平消费”、“维持最低生存标准，拒绝成为资本家和中共赚钱的机器、被资本家和中共剥削的奴隶”[参1]。
在中国经济下滑及新冠疫情的背景下，躺平被视为中国年轻群体出于对现实环境的失望，对阶级固化、内卷化、中产阶级萎缩、在职贫穷、过劳等现象的回应。--- WikiPedia
----------------------------
Google translation:
Lie flat and Lie flat doctrine are online words that have become popular in mainland China since 2021. They refer to the attitude of "rather than following social expectations and persisting in struggling, it is better to choose to lie flat" and have no desires or demands" among young people in China. The specific connotations of lying flat include "not buying a house, not buying a car, not falling in love, not getting married, not having children, and low-level consumption", "maintaining the minimum standard of living, refusing to become a money-making machine for capitalists and the CCP, and being exploited by capitalists and the CCP." slaves” [cf. 1].
In the context of China's economic downturn and the COVID-19 pandemic, Lie Ping is seen as a response to phenomena such as class solidification, involution, shrinking middle class, working poverty, and overwork out of disappointment with the real environment among young Chinese groups.
Amsterdam - Reguliersbuurt
#inktober2021 ✒ #day24 ✴ Prompt : #extinct
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#art ©️ #BluedarkArt #TheChameleonArt
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#inktober #human #sihouette #evolution #humor #involution #fail #stupid #primates #humor #monkey #inktoberday24
No me prodigo mucho en blanco y negro, pero como el día hoy está un poco gris, creo que es bastante apropiada.Espero que os guste.De un lugar al ladito de casa y que poco a poco ha encontrado su hueco en la fotografía de paisaje.El Matalete.
Un encuentro con amigos al que hacía tiempo no veía y con los que disfruto un montón. Juan Carlos Ruiz Photography, David Bringas Prado, Javier Alonso Torre y Gonzalo Gutierrez...
SPONSORED BY www.3dpideas.net/shop.html & loja.laserlab.pt
Drastically post-processed shot of a basket of limes at Sarah's birthday bash. The original shot was fine, I just fancied a GraphicConverter blitz.
Date: June 2019
Medium: Digital Photographs
Location: Santa Cruz, CA.
Dimensions: 20" x 26.75"
© 2019 Tony DeVarco
Date: June 2019
Medium: Digital Photographs
Location: Santa Cruz, CA.
Dimensions: 20" x 26.75"
© 2019 Tony DeVarco
a simultaneous multi-sensorial multi-dimensional pan dream deja vu for eyes and demons and dogs and involutions of leaves and faces and blue veins and grey outlines for plumbers, pipe-fitters and fire and light water children and lost animals helping those on crutches.
Governs the generation of beings and phenomena of nature. Protects those who wish to progress spiritually. Distinguished by genius; one of the great lights of philosophy.
Correspondence to Astrology
15° to 20° Pisces - Alchemy/Transformation
Info below from: UNIVERSE/CITY MIKAEL www.ucm.ca/en/info/the-72-angels
Qualities
Alchemy
Transforms evil into good
Healing
Regenerates, revitalizes, re-establishes harmony
Transforms, transmutes into spiritual gold
Masters instincts
Guides the first steps of the deceased into the other world
Transforms society with enlightened ideas
Helps accompany the dying
Distortions
Blockage, retention Tendency to get bogged down Problems of obesity Incomprehension of good and evil Atheism, disbelief Conflict, confrontation Incurable disease Fear of change and death Outbursts, excessive reactions Heaviness, overflow Incapable of setting objectives
Situations
Accompanying the dying Cancer Death Digestion Intestines Kidney stones Liver Mother Stomach
Transformation, transformation of evil into good
www.karmicangelclearings.com/page/491335722
Lucifer Angel Genius Bartholdi is the result of the passage of the forbidden and decision Freedom of Man, results DEATH. This death is the beginning of transmutation cycle of creation of man and of God himself, not under guardianship and without freedom.Bartholdi itself carried the sculpture of the winged female genius that dominates the red porphyry obelisk on which is written "Author / Lion of Belfort / and the Statue of Liberty / Enlightening the World." I'll have .....
From the Analogy ("The Matrix") page you learned that certain alchemist's authors praise Lucifer. And it doesn't stop there. It extends to their symbolism as well. It is important to STRESS that not all Masons worship Lucifer, only the top 5% do. Most of these writings were kept secret. Biblical admonition has been taken carefully, comparing alchemics teachings to the Holy Bible. In I John 4:1, we read: "Beloved, believe not every spirit, but try (test) the spirits whether they are of God: because many false prophets are gone out into the world." We see that any religious teaching that does not conform to Scripture is from a "false prophet." Many people still do not understand the importance of studying this subject to its logical conclusion. Their spiritual freedom is at stake. Remember two things about alchemy: "Cut through the outer shell and find a meaning; cut through that meaning and find another; under it, if you dig deep enough, you may find a third, a fourth -- who shall say how many teachings?" Many who are in alchemy are not aware that they are lied to. Finally, remember Albert Pike's bold assertion in Morals & Dogma, that "Masonry is identical to the ancient Mysteries," which means that all their teachings in all their books are precisely the same as the Ancient, Pagan, Satanic Mysteries. [p. 624, teachings of the 28th Degree] Of course these top 5% call Jesus Christ an "inferior god," they never, ever mention Him in their teachings or their rituals. This shouldn't surprise you since the Pope carries a bent Satanic cross as seen on another page which shames Christ on the cross.
Alchemits used Luciferic symbols within the layout of government center Washington D.C. worship Lucifer, the Light-Bearer. Lucifer and Satan are biblically the same individual, alchemy is really the worship of Satan. By quoting their own sources and depicting the symbols in which they use, this claim is proven. Alchemy gives itself away more through its symbols than it does in its writings. You saw in the analogy page of "The Matrix" that high level. Alchemists praise Lucifer. It is within these writings the "smoking gun" will be found, proof that Masons worship Satan. Once this is comprehended, you will understand why "they" have been trying to keep this all secret. If people really understood that Alchemy is the worship of Satan, no one in their right mind would join. Not only that but people would demand that this organization be outlawed. You have a continuous public relations campaign promoting the lie that Alchemy is not a religion, and is just a "good works social organization." As quoted above, you have secrets within secrets. LUCIFER PRAISED AS THE LIGHT-BEARER OF FREEMASONRY "Lucifer, the Light-bearer! Strange and mysterious name to give to the Spirit of Darkness! Lucifer, the Son of the Morning! Is it he who bears the Light, and with its splendors intolerable, blinds feeble, sensual, or selfish souls? Doubt it not!" [Albert Pike, Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry, p. 321, 19th Degree of Grand Pontiff; Red Emphasis added] Alchemists from the first initiation which is the first degree are urged to mightily "seek the Light!" The average Mason is continually saying that he is "seeking the Light," and will spend his entire life "moving toward the Light." People who haven't studied this subject would assume that this "Light" is the revelation of the God of the Bible. This statement is continuously held up to try to convince us that Masonry is Christian. In the above quote, Albert Pike is saying that Lucifer is the One who bears the Light of Alchemy. The sentence immediately preceding confirms not only that Lucifer is the Light-bearer, but that alchemys of previous degrees have been led to believe that the opposite was true. The wording of this sentence is difficut to understand unless you have special knowledge. Doc Marquis was asked for his explanation, lets look at what he had to say:, "The Apocalypse is, to those who receive the nineteenth Degree, the Apotheosis of that Sublime Faith which aspires to God Alone, and despises all the pomps and works of Lucifer." [Ibid.] It seems to contradict the sentence first quoted above, It appears to contradict the quote above where Pike identifies Lucifer as the Masonic Light-bearer. However when you understand the esoteric explanation from Doc Marquis, your understanding clears up completely.
The Apocalypse is identified first by Pike as being the Book of Revelation written by the Apostle John. Pike then states that similar books from other religions are just as 'inspired' as Revelation, mentioning Plato, Philo, the Sephar Yezirah, and the Sohar. Pike says all three of these books -- Apocalypse [Revelation], the Sephar Yezirah, and the Sohar, are all identically "inspired." And since the last two books are of non-Christian faiths, Albert Pike is saying that the contents of Revelation are no big deal. Therefore, it is no big deal that the Book of Revelation denigrates the "pomp and works" of Satan, since the God of that book is known to hate Satan.
Pike then says that these three books "are the completest embodiment of Occultism." [Ibid.] Now, we understand that Pike views the God of the Apocalypse as being the opposite but equal to Satan just as typical Occultists believe and teach!
Secondly, Doc Marquis provides the esoteric, occultic, explanation. Pike is also saying in this sentence that, in the previous 18 degrees, alchemists believed that God was the Light-bearer, but now, in this 19th Degree, Pike is giving them new revelation. This insight completely squares with stated Masonic policy of deliberately misleading alchemists in the lower degrees until they were really ready for the "truth." This is the truth -- MasonLucifer: A must to Knowledge.ry worships Lucifer. PIKE'S TYPICAL SATANIC PHRASE -- OUT WHERE EVERYONE CAN SEE Concrete evidence is then given by Pike of alchemist's worship of Satan/Lucifer on the very front of the cover of Morals and Dogma. Pike writes a Latin phrase just below the round seal of "God," this is a phrase proven to be Satanic. Any "Satanic brother" looking at this phrase would know that the contents of this book are Satanic. They would also understand that the entire religion of alchemy is Satanic. "DEUS MEUMQUE JUS" is this phrase. The literal meaning is "God and My Right" Doc Marquis says this statement is a typical one within Satanism. There is one meaning within another with this statement. The first meaning is that the Freemason can depend upon their God to determine their Right and Justice. The second meaning is, since the God of Freemasonry is Lucifer, Achemitss are saying that they are "using occult methods," through Lucifer, to achieve their Rights and Justice. This phrase is very powerful and dangerous within Saanism says Marquis. A Satanist knows the content within Pike's book is Satanism just by reading, "DEUS MEUMQUE JUS." They don't even have to read the book, just the phrase to know.
"SEETHING ENERGIES OF LUCIFER WITHIN YOUR HANDS!"
"The day has come when Fellow Craftsman must know and apply their knowledge. The lost key to their grade is the mastery of emotion , which places the energy of the universe at their disposal. Man can only expect to be entrusted with great power by proving his ability to use it constructively and selflessly. When the Alchemists learns that the key to the warrior on the block is the proper application of the dynamo of living power, he has learned the mystery of his Craft. The seething energies of Lucifer are in his hands, and before he may step onward and upward, he must prove his ability to properly apply energy. He must follow in the footsteps of his forefather, Tubal-Cain, who with the mighty strength of the war god hammered his sword into a plowshare."
Once the Alchemists learns to control his emotion and to apply the "dynamo of living power," the Mason can be assured of being able to control the "seething energies of Lucifer" in his hands. He makes the admission that Alchemy is the Craft, which is an old name for Witchcraft. Satanists are assured that, if they will join the coven and learn the Craft, he will control the supernatural power of Satan, just as Manly P. Hall promises here. As you can see, they have exposed themselves. Powerful proof that Alchemy is Satanism. The language is direct and clear. It is not cluttered with deliberately confusing arcane language that only an insider can understand.
REVELATIONS OF TUBAL-CAIN Please take note that Hall makes reference to Tubal-Cain, above. We need to review this sentence because it too reveals Satanism. The Alchemist must "follow in the footsteps of his forefather, Tubal-Cain, who with the mighty strength of the war god hammered his sword into a plowshare." In the Alchemic Quiz Book, the candidate is asked this question: "Who was Tubal Cain?" Answer: "He is the Vulcan of the pagans." William P. Peterson. The Arcane Schools: A Review of their Origin and Antiquity: With a General History of Alchemy and Its Relation to the Theosophic Scientific and Philosophic Mysteries, Belfast, Ireland, William Tait, 1909, p. 30; also found in A. R. Chambers, Editor, Questions and Tubal-Cain is the password given in the Third Degree of Master Alchemist . You can identify Alchemy with paganism within this sentence. But what is the meaning of the Vulcan of the pagans? A very important question because Manly P. Hall advises the Mason that, once he has the seething energies of Lucifer in his hands, he is to walk in Tubal-Cain's footsteps.
Hall makes it sound like Tubal-Cain is one of the Greek gods, does he not? And, we know conclusively that Tubal-Cain is Vulcan of the Pagans. Let us review who Vulcan of the pagans is, by looking within occult sources. "Vulcan was a sun deity who was associated with fire, thunderbolts and light. The festival in honor of him was called the Vulcania in which human sacrifices were offered." [Percival George Woodcock, Short Dictionary of Mythology, New York, Philosophical Library, p. 152]. "According to Diel, he bears a family relationship to the Christian devil." [J.E. Cirlot, translated by Jack Sage, A Dictionary of Symbols , New York, Dorset Press, 1991, p. 362]. "It is fascinating to know that he married Venus, another name for Lucifer or the devil ." [Woodcock, op. cit., p. 150-151; Emphasis added] Manly P. Hall tells the Mason that he can have the seething energies of Lucifer in his hands, and then tells him to follow in the footsteps of the "Christian devil," to whom "human sacrifices" are offered. THE INFERNAL NAMES There may be some people who have read up to this point and still might be skeptical. Masonry cleverly masks its references to Satan. There are 77 names which pagans have used to refer to Satan over the centuries and they are in the Satanic Bible. We'll review some of these "Infernal Names" of Satanism found within Alchemy [Satanic Bible, Anton LaVey, p. 144-46]
We shall list the Freemason teaching on each of these names, and then the explanation. Baphomet -- "The Gnostics held that it [universal agent] composed the igneous [pertaining to fire] body of the Holy Spirit, and it was adored in the secret rites of the Sabbat or the Temple under the hieroglyphic figure of Baphomet or the hermaphroditic goat of Mendes ." [Pike, op. cit., p. 734, teaching of the 28th Degree; Emphasis added] It find absolutely incredible that the Freemasons should portray the Holy Spirit with the Satanic symbol, Baphomet.
Eliphas Levi created this symbol, one of the foremost Satanists and Alchemists of all time. The Baphomet is one of the most evil of all symbols. Looking closely at the Baphomet(left) you will see that the emphasis is on sex. This Being is androgynous -- both male and female -- you can see it has the breasts of a woman, and an erect phallus. You'll notice that the erect phallus has two serpents coiled around it. The Baphomet has the head of a "Horned Goat," another title for Satan.Alchemic and Occult Symbols Illustrated is a book in which Dr. Burns says, "In a book on witchcraft, The Complete Book of Witchcraft and Demonology ... the caption states that he is 'the horned god of the witches, symbol of sex incarnate'." [p. 51] And if you look at his right hand you will see Baphomet making the sign of the Devil's triad. "Baphomet is also known as the Sabbatic goat, in whose form Satan is to be worshipped at the Witches' Sabbath." [Frank Gaynor, Dictionary of Mysticism, New York, Philosophical Library, 1953, p. 24]. Then, we discovered that Baphomet is officially approved as a symbol of the Church of Satan [The Occult Emporium, Winter , 1993-1994, p. 54] and that it is worn by the Priest of Satan [Ibid., 1990-1991, p. 26]. Since Albert Pike linked Baphomet with the Goat of Mendes , we will show this obviously Satanic symbol, as well. It should also be noted that from the way a pentagram is normally seen(one point up, two down), rotating the pentagram 33 degrees you get a Satanic Pentagram. 33 is the highest degree there is in Alchemy.
www.theforbiddenknowledge.com/symbology/1o5.htm
Lucifer :Passage obligé vers la Connaissance
« Comment es-tu tombé des Cieux
Astre du Matin, fils de l’Aurore
Comment as-tu été jeté par terre
Toi qui vassalisais toutes les Nations
Toi qui disais en ton cœur :
J’escaladerai les Cieux par-dessus les étoiles de Dieu
J’érigerai mon trône, je siégerai sur la montagne de l’assemblée, dans les profondeurs du Nord,
Je monterai au sommet des nuages noirs
Je ressemblerai au Très Haut
Comment ! Te voila tombé au Schéol, dans les profondeurs de l’abîme »
ISAÏE XIV : 12-15
Dieu a prévu que l’Homme est appelé à jouir de la Connaissance, à l’acquérir et à accéder à la toute puissance sur la création que lui confère la Connaissance (ce qu’il n’a pas oublié de faire depuis). Mais le résultat du passage de l’interdit et de la prise de Liberté de l’Homme, a pour conséquence la MORT. Cette mort qui est le début du cycle de transmutation de la création de l’Homme et de Dieu lui-même, impossible sous tutelle et sans liberté. Cette mort acquise par transgression, devient un élément de la mise en marche du cycle cosmique, VIE-MORT, et donc de la possibilité de changement. L’Homme doit passer d’un état passif, jouir de la Connaissance, à un état actif, Connaître, en passant par la prise de possession de la Connaissance. Le but à atteindre est la divinité de l’Homme, qui ayant cueilli les fruits de la Connaissance, doit en transmuter la substance afin de s’en approprier les principes avant que d’accéder à l’Immortalité que lui confèrera l’état de Connaissant. En fait, le Serpent « LUCIFER » l’Homme et la Femme, participent à l’Unité en nous ramenant à l’UN. L’acte de rébellion consenti par Dieu, permet à l’Homme une amélioration sous forme de réintégration de sa propre divinité. Les égrégores Dieu et Lucifer, sont les inconscients de l’Homme. La Connaissance a offert la liberté de choisir entre le Bien et le Mal et donc d’évoluer sur l’arbre de Vie. LUCIFER libère l’homme de la tutelle de Dieu parce que Dieu l’a voulu. Il est un Dionysos judéo chrétien, génie de l’incarnation humaine, de l’individualité libre, expression visible de la vérité. Il est l’autre Verbe de Dieu, Archange déchu qui remonte et entraîne avec lui toute l’évolution humaine. Dans sa chute il aurait perdu une émeraude fixée à son front et dans laquelle aurait été taillé un vase qui ne serait autre que le GRAAL lequel aurait servi à récupérer « le sang du Christ » dont le symbole représente la Connaissance suprême qui procure l’illumination spirituelle, la montée des Ténèbres de la foi vers la Lumière de la GNOSE. Le terme est lâché : GNOSE
Cette Connaissance mystique des anciens Initiés (Isis, Eleusis, Dionysos, Pythagore) qui évoque la conception de la présence, en l’Homme, d’une étincelle divine dans le Monde soumis au destin, à la naissance et à la mort, et qui doit être réveillée par la contrepartie du Soi pour être finalement réintégrée dans le Tout Universel.
L’Homme se doit d’évoluer selon un schéma sur lequel se base quasiment l’intégralité des Ordres Initiatiques :
Niveau de la Matière : les Hyliques , esclaves prisonniers de la grotte de Platon, retenus par les chaînes de l’ignorance, incapables d’aller au delà de l’apparence et dont la pensée reste au niveau du geste et du rite confondant le mot et l’esprit.
Niveau de l’Esprit : les Psychiques, qui ont fait évoluer leur intellect et leur affectif, mais leurs mots n’aboutissent pas à l’idée claire et juste car l’intolérance, les passions et la peur, les aveuglent.
Niveau de l’Ame ou du Spirituel : les Pneumatiques qui sont les mystiques éclairés et initiés, ayant abandonné les préjugés, les fausses certitudes et valeurs, libres de la pesanteur de la matière. Ils sont capables de retrouver le sens perdu de la Parole et ont accès à la Gnose en s’élevant au niveau du spirituel.
Cette Gnose permet d’opérer la métamorphose de l’Homme et sa mutation interne.
Lorsque le profane se trouve dans le cabinet de réflexion, il lit ce mot : VITRIOL mais il ne sait pas encore qu’en inversant deux de ces lettres, le I et le R, il pourra écrire plus tard « L’OR I VIT « L’or, ce métal pur et précieux , qui pour les Alchimistes représente bien plus que cela, il est cette étincelle de Divinité que l’homme doit rechercher par la transmutation de ce métal vil et impur, le Mercure qui n’est autre que le symbole alchimique de LUCIFER.
Il s’avère que l’Alchimie assimile LUCIFER à l’œuvre au noir, la Putréfaction, sous une forme non démoniaque mais rédemptrice. Il représente la Pierre Brute, matière initiale de l’œuvre, qui sous son aspect vil et repoussant, n’en demeure pas moins le pilier de toute l’œuvre, car recelant en son sein, la lumière à suivre, l’étoile que suivirent les mages pour parvenir à l’Enfant philosophal.
LUCIFER représente des forces immenses qui travaillent en nous obscurément, à la réalisation du parangon humain. Les deux natures chez l’Homme sont Mortelle, être de chair, et Originelle Immortelle, être de lumière.
Deux voies différentes s’ouvrent à la prise de conscience :
L’Involution (VITRIOL) qui est la matérialisation progressive de l’esprit
L’Evolution qui est la réapparition de l’Esprit émergeant au sein de la Matière qu’il a fécondée, animée, évertuée.
Comme l’Alchimiste, l’Homme peut engager la transformation, la transmutation de sa propre nature existentielle.
« Lumière et vie, voilà ce qu’est le Dieu et Père de qui est né l’Homme. Si donc tu apprends à te connaître comme étant fait de vie et de lumière et que ce sont là les éléments qui te constituent, tu retourneras à la Vie. » (Hermès Trismégiste)
La poursuite du grand Œuvre est le symbole du chemin nécessaire à la réalisation de la transfiguration de l’âme, prélude à la résurrection de la figure divine originelle : l’Homme véritable, l’Adam Kadmon.
Créé par Dieu, l’ange devenu Homme par la chair doit de son vivant et dans ses actes opérer une mue pour ressusciter en toute conscience et librement sa grandeur angélique.
LUCIFER : PASSAGE OBLIGE VERS LA CONNAISSANCE
La quête Luciférienne est la quête du Graal, nous sommes tous des enfants de LUCIFER, ceux qui font des efforts vers la Connaissance et la Sagesse. En loge, nous venons chercher la lumière que nous dispense « notre Lucifer », notre très Vénérable Maître car c’est par lui que se transmet la Lumière qui ouvre nos travaux, qui nous fait passer des Ténèbres à la Lumière, du monde profane au Macrocosme, de Lucifer au GADLU.
Dieu et LUCIFER, lumière et obscurité sont les deux facettes de cette réalité suprême qui n’est qu’un.LUCIFER est la réflexion de Dieu à l’intérieur de nous même, l’ombre de notre Etre Divin en nous même. L’influx Luciférien est une force sans laquelle la Terre n’aurait pu poursuivre son évolution. La chute du grain de blé et son implantation en cette Terre, lui donnent une particulière chance d’éclosion : celle de devenir Dieu. Celui qui veut monter doit d’abord descendre, la chute hors du Monde de Lumière, l’exil et le combat dans le Monde de l’Aveuglement et de l’Ignorance, permet la triomphale rédemption finale.
LUCIFER et CHRIST sont complémentaires, ils sont les Ténèbres et la Lumière, le Pentagramme pointe en bas évoquant la Connaissance transcendante qui renvoie à la quête d’immortalité et d’absolu pour LUCIFER et pointe en haut pour CHRIST dont la rédemption lui permet l’accès au Divin.
Mais alors, lorsque le Compagnon voit pour la première fois l’Etoile Flamboyante, celle-ci ne devrait elle pas être pointe vers le bas et ne se redresser que lorsqu’il passe des Ténèbres à la Lumière, qu’il renaît HIRAM ?
Le sceau de Salomon est explicite, un Triangle vers le haut et un Triangle vers le bas ce qui permet à l’Homme Luciférien de se positionner au centre, pas encore pneumatique mais plus du tout Hylique. Un peu comme le positionnement du Maître maçon qui, une fois la transmutation opérée, est passé de l’Equerre au compas mais revient se positionner au centre pour parfaire son évolution spirituelle.
Albert Pike Maître alchimiste du XIX ème Siècle avait déjà largement compris la nécessité du passage obligé par l’instruction Luciférienne et avait dit à ce propos, je cite : « Pour les F :. M :. Gnostiques, le G.A.D.L.U est Lucifer, »le porteur de Lumière ». L'Alchimie devrait être maintenue dans la pureté de la doctrine luciférienne « (sic).
Mais le Connaissant n’en est pas pour autant un Sage. Le savoir pouvant donner le pouvoir, l’évolution spirituelle de l’Homme se fera en fonction de la bonne ou mauvaise utilisation qu’il en fera. Il se doit de dompter son savoir et de le faire évoluer de la Matière vers l’Esprit, de l’Equerre vers le Compas en faisant que le Compas reste ouvert sur l’Equerre, de LUCIFER vers le DIVIN.
« Il est de la nature de la Lumière de ne pouvoir paraître à nos yeux sans être revêtue de quelque corps et il faut que ce corps soit propre aussi à recevoir la Lumière.
Là où donc est la Lumière, là doit être aussi nécessairement le véhicule de cette lumière. Voila le moyen le plus facile pour ne point errer. Cherche donc la Lumière de ton Esprit, la Lumière qui est enveloppée dans les Ténèbres et apprends de là que le sujet le plus vil de tous les ignorants est le plus noble selon les Sages » (BOUDDHA)
Gnôthi Seauton (Connais toi toi-même)
J’ai dit Très Vénérable Maître.
The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.
Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.
theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...
The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.
Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.
However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.
culture.org/the-unseen-mothers-of-the-occult-pamela-colma...
"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !
The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.
www.innertraditions.com/books/magdalene-mysteries
Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?
The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.
www.academia.edu/8851376/Tarot_and_Christian_Iconography_...
The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.
www.calistabellini.com/post/les-saintes-maries-de-la-mer-...
Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;
Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the
The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.
Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.
Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).
en.wikipedia.org/wiki/The_Three_Marys
The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).
Description
Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.
In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life
of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.
What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?
The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?
To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.
What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.
Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...
An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.
www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...
The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four
evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists
2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.
Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".
But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.
The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.
Interpretation
According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:
Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.
If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.
21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.
The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.
According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.
In other media
In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.
In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.
en.wikipedia.org/wiki/The_World_(tarot_card)
The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.
The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.
Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.
fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html
What is the name of the brightest star?
Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?
they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.
Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...
Hebrew Letter: Tave
In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents
The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks
What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband
Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.
The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.
Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.
Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols
Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.
It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.
These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.
Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?
The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.
karinastarot.com/world-symbols/
Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.
The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al
Desgraciadamente aún hay gente que ignora que "huellas" como ésta
perduran durante años.....................................................Mejor aquí - View On Black
Un regalo para Curro, porque su espíritu del pantano me hizo recordar ésta foto.
____________________________________________________________________
Unfortunately still there are persons who ignore that "traces" as this one
remains during years in the nature..................................................................View On Black
Coiling the light thru the underground darkness and creating a radial swirl throughout the Dour Acceptor storm drain
For the psychedelic trance musical band, see Astral Projection (band). For physical travel to other stars, see Interstellar travel."The Separation of the Spirit Body" from , a Chinese handbook on alchemy and meditation
Astral projection (or astral travel) is a term used in esotericism to describe a willful out-of-body experience (OBE), a supposed form of telepathy, that assumes the existence of a soul or consciousness called an "astral body" that is separate from the physical body and capable of travelling outside of it throughout the universe where it interacts with other astral bodies and is capable of implanting ideas into other people's minds. The idea of astral travel is rooted in esotericism and occultism, and was promoted by 19th century Theosophists—philosophers who explored the mystical and preternatural origins of the natural world.It is sometimes reported in association with dreams, and forms of meditation.Some individuals have reported perceptions similar to descriptions of astral projection that were induced through various hallucinogenic and hypnotic means (including self-hypnosis). There is no scientific evidence that there is a consciousness or soul which is separate from normal neural activity or that one can consciously leave the body and make observations..Claims of scientific evidence of astral projection are pseudoscientific.According to classical, medieval and renaissance Hermeticism, Neoplatonism, and later Theosophist and Rosicrucian thought the astral body is an intermediate body of light linking the rational soul to the physical body while the astral plane is an intermediate world of light between Heaven and Earth, composed of the spheres of the planets and stars. These astral spheres were held to be populated by angels, demons and spirits.The subtle bodies, and their associated planes of existence, form an essential part of the esoteric systems that deal with astral phenomena. In the neo-platonism of Plotinus, for example, the individual is a microcosm ("small world") of the universe (the macrocosm or "great world"). "The rational soul...is akin to the great Soul of the World" while "the material universe, like the body, is made as a faded image of the Intelligible". Each succeeding plane of manifestation is causal to the next, a world-view called emanationism; "from the One proceeds Intellect, from Intellect Soul, and from Soul - in its lower phase, or that of Nature - the material universe".Often these bodies and their planes of existence are depicted as a series of concentric circles or nested spheres, with a separate body traversing each realm.[18] The idea of the astral figured prominently in the work of the nineteenth-century French occultist Eliphas Levi, whence it was adopted and developed further by Theosophy, and used afterwards by other esoteric movements.
Biblica
Some have claimed that the Bible contains mentions of astral projection.[weasel words]Carrington, Muldoon, Peterson, and Williams—renowned experts in the field of astral projection—claim that the subtle body is attached to the physical body by means of a psychic silver cord. The final chapter of the Book of Ecclesiastes is often cited in this respect: "Before the silver cord be loosed, or the golden bowl be broken, or the pitcher be shattered at the fountain, or the wheel be broken at the cistern." Scherman, however, contends that the context points to this being merely a metaphor, comparing the body to a machine, with the silver cord referring to the spine
Paul's Second Epistle to the Corinthians is more generally agreed to refer to the astral planes; "I know a man in Christ, fourteen years ago, (whether in the body I know not, or out of the body I know not, God knows) such a one caught up to the third heaven..."This statement gave rise to the Visio Pauli, a tract that offers a vision of heaven and hell, a forerunner of visions attributed to Adomnan and Tnugdalus as well as of Dante's Divine Comedy.
Ancient Egypt
Similar concepts of soul travel appear in various other religious traditions. For example, ancient Egyptian teachings present the soul (ba) as having the ability to hover outside the physical body via the ka, or subtle body
China
Taoist alchemical practice involves creation of an energy body by breathing meditations, drawing energy into a 'pearl' that is then "circulated". "Xiangzi ... with a drum as his pillow fell fast asleep, snoring and motionless. His primordial spirit, however, went straight into the banquet room and said, "My lords, here I am again." ... When Tuizhi walked ... with the officials to take a look, there really was a Taoist sleeping on the ground and snoring like thunder. Yet inside, in the side room, there was another Taoist beating a fisher drum and singing Taoist songs. The officials all said, “Although there are two different people, their faces and clothes are exactly alike. Clearly he is a divine immortal who can divide his body and appear in several places at once. ..." ... At that moment, the Taoist in the side room came walking out, and the Taoist sleeping on the ground woke up. The two merged into one."
India
Similar ideas such as the Lin'ga S'ari-ra are found in ancient Hindu scriptures such as the YogaVashishta-Maharamayana of Valmiki. Modern Indians who have vouched for astral projection include Paramahansa Yogananda who witnessed Swami Pranabananda doing a miracle through a possible astral projection, and Osho (Bhagwan Shree Rajneesh) who practiced it himself.The Indian spiritual teacher Meher Baba described one's use of astral projection:In the advancing stages leading to the beginning of the path, the aspirant becomes spiritually prepared for being entrusted with free use of the forces of the inner world of the astral bodies. He may then undertake astral journeys in his astral body, leaving the physical body in sleep or wakefulness. The astral journeys that are taken unconsciously are much less important than those undertaken with full consciousness and as a result of deliberate volition. This implies conscious use of the astral body. Conscious separation of the astral body from the outer vehicle of the gross body has its own value in making the soul feel its distinction from the gross body and in arriving at fuller control of the gross body. One can, at will, put on and take off the external gross body as if it were a cloak, and use the astral body for experiencing the inner world of the astral and for undertaking journeys through it, if and when necessary....The ability to undertake astral journeys therefore involves considerable expansion of one’s scope for experience. It brings opportunities for promoting one’s own spiritual advancement, which begins with the involution of consciousness.Astral projection is one of the Siddhis considered achievable by yoga practitioners through self-disciplined practice. In the epic The Mahabharata Drona leaves his physical body to see if his son is alive.
Japan
The 'ikiryō' as illustrated by Toriyama Sekien.
In Japanese mythology, an ikiryō (生霊?) (also read shōryō, seirei, or ikisudama) is a manifestation of the soul of a living person separately from their body. Traditionally, if someone holds a sufficient grudge against another person, it is believed that a part or the whole of their soul can temporarily leave their body and appear before the target of their hate in order to curse or otherwise harm them, similar to an evil eye. Souls are also believed to leave a living body when the body is extremely sick or comatose; such ikiryō are not malevolent.[
Inuit In some Inuit groups, people with special capabilities are said to travel to (mythological) remote places, and report their experiences and things important to their fellows or the entire community; how to stop bad luck in hunting, cure a sick person etc., things unavailable to people with normal capabilities.
Amazon
The yaskomo of the Waiwai is believed to be able to perform a "soul flight" that can serve several functions such as healing, flying to the sky to consult cosmological beings (the moon or the brother of the moon) to get a name for a new-born baby, flying to the cave of peccaries' mountains to ask the father of peccaries for abundance of game or flying deep down in a river to get the help of other beings.
"Astral" and "etheric"
The expression "astral projection" came to be used in two different ways. For the Golden Dawn and some Theosophists[ it retained the classical and medieval philosophers' meaning of journeying to other worlds, heavens, hells, the astrological spheres and other imaginal landscapes, but outside these circles the term was increasingly applied to non-physical travel around the physical world.Though this usage continues to be widespread, the term, "etheric travel", used by some later Theosophists, offers a useful distinction. Some experients say they visit different times and/or places:"etheric", then, is used to represent the sense of being "out of the body" in the physical world, whereas "astral" may connote some alteration in time-perception. Robert Monroe describes the former type of projection as "Locale I" or the "Here-Now", involving people and places that actually exist: Robert Bruce calls it the "Real Time Zone" (RTZ) and describes it as the non-physical dimension-level closest to the physical. This etheric body is usually, though not always, invisible but is often perceived by the experient as connected to the physical body during separation by a “silver cord”. Some link "falling" dreams with projection.According to Max Heindel, the etheric "double" serves as a medium between the astral and physical realms. In his system the ether, also called prana, is the "vital force" that empowers the physical forms to change. From his descriptions it can be inferred that, to him, when one views the physical during an out-of-body experience, one is not technically "in" the astral realm at all.Other experients may describe a domain that has no parallel to any known physical setting. Environments may be populated or unpopulated, artificial, natural or abstract, and the experience may be beatific, horrific or neutral. A common Theosophical belief is that one may access a compendium of mystical knowledge called the Akashic records. In many accounts the experiencer correlates the astral world with the world of dreams. Some even report seeing other dreamers enacting dream scenarios unaware of their wider environment.The astral environment may also be divided into levels or sub-planes by theorists, but there are many different views in various traditions concerning the overall structure of the astral planes: they may include heavens and hells and other after-death spheres, transcendent environments, or other less-easily characterized states
Notable practitioners
Emanuel Swedenborg was one of the first practitioners to write extensively about the out-of-body experience, in his Spiritual Diary (1747–65). French philosopher and novelist Honoré de Balzac's fictional work "Louis Lambert" suggests he may have had some astral or out-of-body experience.
There are many twentieth century publications on astral projection,although only a few authors remain widely cited. These include Robert Monroe,Oliver Fox,Sylvan Muldoon, and Hereward Carrington,and Yram.Robert Monroe's accounts of journeys to other realms (1971–1994) popularized the term "OBE" and were translated into a large number of languages. Though his books themselves only placed secondary importance on descriptions of method, Monroe also founded an institute dedicated to research, exploration and non-profit dissemination of auditory technology for assisting others in achieving projection and related altered states of consciousness.Robert Bruce,William Buhlman, and Albert Taylor,have discussed their theories and findings on the syndicated show Coast to Coast AM several times. Michael Crichton gives lengthy and detailed explanations and experience of astral projection in his non-fiction book Travels.The soul's ability to leave the body at will or while sleeping and visit the various planes of heaven is also known as "soul travel". The practice is taught in Surat Shabd Yoga, where the experience is achieved mostly by meditation techniques and mantra repetition. All Sant Mat Gurus widely spoke about this kind of out of body experience, such as Kirpal Singh.Eckankar describes Soul Travel broadly as movement of the true, spiritual self (Soul) closer to the heart of God. While the contemplative may perceive the experience as travel, Soul itself is said not to move but to "come into an agreement with fixed states and conditions that already exist in some world of time and space".American Harold Klemp, the current Spiritual Leader of Eckankar practices and teaches Soul Travel, as did his predecessors, through contemplative techniques known as the Spiritual Exercises of ECK (Divine Spirit).
In occult traditions, practices range from inducing trance states to the mental construction of a second body, called the Body of Light in Aleister Crowley's writings, through visualization and controlled breathing, followed by the transfer of consciousness to the secondary body by a mental act of will.There is no known scientific evidence that astral projection as an objective phenomenon exists.There are cases of patients having experiences suggestive of astral projection from brain stimulation treatments and hallucinogenic drugs.Robert Todd Carroll writes that the main evidence to support claims of astral travel is anecdotal and comes "in the form of testimonials of those who claim to have experienced being out of their bodies when they may have been out of their minds."Subjects in parapsychological experiments have attempted to project their astral bodies to distant rooms and see what was happening. However, such experiments have produced negative results.According to Bob Bruce of the Queensland Skeptics Association, astral projection is "just imagining", or "a dream state". Although parallel universes are mathematically possible,Bruce writes that the existence of an astral plane is contrary to the limits of science. “We know how many possibilities there are for dimensions and we know what the dimensions do. None of it correlates with things like astral projection.” Bruce attributes astral experiences such as "meetings" alleged by practitioners to confirmation bias and coincidences.The psychologist Donovan Rawcliffe has written that astral projection can be explained by delusion, hallucination and vivid dreams.Arthur W. Wiggins, writing in Quantum Leaps in the Wrong Direction: Where Real Science Ends...and Pseudoscience Begins, said that purported evidence of the ability to astral travel great distances and give descriptions of places visited is predominantly anecdotal. In 1978, Ingo Swann provided a test of his alleged ability to astral travel to Jupiter and observe details of the planet. Actual findings and information were later compared to Swann's claimed observations; according to an evaluation by James Randi, Swann's accuracy was "unconvincing and unimpressive" with an overall score of 37 percent. Wiggins considers astral travel an illusion, and looks to neuroanatomy, human belief, imagination and prior knowledge to provide prosaic explanations for those claiming to experience it.A recent study, The AWARE Study, conducted by medical researcher Sam Parnia, was designed to get information on possible OBEs during cardiac arrest.
Hans Hartung 1904-1989
Composition 1958
Parme Fondazione Magnani Rocca
Les derniers tableaux de la Fondation Magani Rocca mettent bien en évidence le fossé qui sépare l'Art Moderne de l'Art Contemporain officiel. C'est l'intérêt des petits musées généralistes que de permettre de voir se dérouler en quelques salles une histoire de l'art sur plusieurs siècles. Et de comprendre ainsi les évolutions, de rendre manifestes les différences d'idéologies, de thèmes et de styles.
The latest paintings from the Magani Rocca Foundation highlight the gap between Modern Art and official Contemporary Art. The interest of small general museums is to allow a history of art spanning several centuries to take place in a few rooms. And thus to understand the evolutions, to make manifest the differences in ideologies, themes and styles.
Today we conceive of no other art than of contestation, it is one of the signs of our decomposition. After all there was great art on command, there was even only art on command : Egypt, Mesopotamia, Greece, Byzantium, Maya, Chinese Art, India, our Christian West, Renaissance, Baroque and even classic. It was beautiful, it was ordered, but the artists believed in him.
Jean DUCHE. The Shield of Athena.
"You can make to people swallow anything," says one expert: MARCEL DUCHAMP (interview on the express 23 July 1964) Under the name of art, for more than a hundred years now, people have been made to swallow anything. We are in the midst of unreality, what is officially considered to be the art of the 20th century and the beginning of the current century has no connection with art, it is anti-art, non-art, hoax.
JEAN LOUIS HARROUEL Contemporary Art, Great Falsification Jean Cyrille Godefroy 2009
Art is what you believe in. And art makes you believe in what you believe. Art also makes you believe in what you wouldn't believe if you were free to believe. What if you don't believe in anything anymore? Not even in man? Only in yourself, in defiance of all others? That's official contemporary art.
The ugliness and absurdity of Official Contemporary Art are deadly viruses, destroying collective cultures and persons. It'is Covid-Art. It is self-confined in magnificent buildings where no public goes, except for a few vaccinated, constrained, adventurous or naive people.
Official contemporary art is an anti-art, commissioned, globalist, state and supra-state, public and private, which combines seven constants found in almost all European museums:
He is ugly, absurd, provocative, botched, sad, uprooted, obsessional, and as a result of all this, totally artificial.
1° The Ugly Art
This is what art historian Ernst Gombrich notes: "Western art has become an adventure on the edge of the impossible, and the art of the ugly".
The ugly Art is a major invention of the West in the second half of the 20th century. Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) and Modern Art, which goes from 1830 to 1950, have occasionally paint the ugliness of life and death. The ugliness of the Passion of Christ, the Devil, the Underworld, War, disease and epidemics, madness, death etc..... But the ugly was never a goal in itself, it was only a way to express the ugliness of certain realities.
In official contemporary art, this imperative of the ugly concerns both abstract and figurative art.
When the Ugly becomes a criterion of official art, a goal of the painter, and a necessary condition for entering a museum of painting, or sculpture, then the era of Contemporary Art undoubtedly begins.
The ideological, doctrinal, systematic adherence of Contemporary Art to ugliness is a very banal observation, which has been made many times, and which has been fully claimed by its theorists and practitioners.
The art critic Michel Tapié (1909-1987) noted in the 1950s and 1960s that "Modern Art - understand Contemporary Art - was born the day the idea of Art and Beauty were separated". Michel Tapié does not criticize this disjunction, on the contrary he notes it and justifies it. "we have changed our values". Indeed, ugliness has become a positive value in aesthetics!
It is very significant that Europe and the West of Museums distinguish, the Museums of "Fine Arts" (Belle Arti, Schönen Künste, Fine Art), from the "Museums of Contemporary Art". It is the officialization of the divorce of Art and Beauty. This institutionalization, this systematization of the anti-esthetic is a first in the history of civilizations.
It is imperative not to confuse Modern Art (1830--1950) with the Contemporary Art, that prevails in the West in official circles from the 1950s onwards. The essential difference, but very simple to understand, is this: Modern Art is an aesthetic, Contemporary Art is, and proclaims to be, an anti-aesthetic.
A few questions are in order:
Should man be proud of having renounced beauty in his official art?
Is it mandatory to consider that this is a necessary and inevitable evolution? A Progress even?
What if ugly art was, on the contrary, a degrading art, a regression? An Involution?
2° The Absurd Art.
During the whole period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never absurd. He always had a meaning, he was the bearer of a teaching very clearly perceptible by the greatest number, even by the illiterate, especially in religious art. From the Renaissance onwards, an art inspired by Greco-Roman antiquity appeared, the meaning of which was only accessible to a cultivated elite of European society. But art continues until the contemporary era to be meaningful, to hold a clear discourse designed to convince and bring peoples together.
In modern times, around 1900, with non-figurative, abstract art, a novelty appeared: the art of non-sense. The non-sense, understood as the lack of meaning, the absence of an intelligible discourse, carrying a precise message, easily identifiable by the populations or by the elites. This is when works "without title" or with meaningless titles appear: "Composition N°..."
But it is only with official contemporary art, after the Second World War, that nonsense, the absence of significant discourse, evolves, is exacerbated, and becomes synonymous with absurdity.
Abstract modern art is a blue triangle and a red dot on a white background.
Official contemporary art is a pair of shoes wearing glasses, a pile of stones, a bed suspended from the museum ceiling, or a mop...
This characteristic of absurdity, unlike that of ugliness, is not explicitly claimed by the dogmatics of the Anti-Art. On the contrary, the theorists of Official Contemporary Art absolutely want to make believe that Anti-Aesthetics is superiorly intelligent, carrying a highly subtle counter-discourse, superlatively "conceptual", that only a visitor initiated to the mysteries of contemporary thought could understand. Hence the importance in contemporary art museums of the Discourse on Art, which is sometimes displayed in a larger format than "works of art". In reality, the truly informed public, not the falsely enlightened public, must understand that there is nothing to understand about each of these "works of art". The discourse on art is there to deceive the public, to amaze them, to intimidate them, to prohibit them from contesting. On the other hand, it is necessary to understand the why this "art", which one, at the same time, displays its absurdity and hides it behind a whole justification discourse. It is also necessary to understand the global, political, ideological and social significance of this totally sophistic aesthetic and ethical deconstruction. We are in the presence of a Sophist art, to which we must firmly oppose the wisdom of Socrates. At the risk of having to drink hemlock, after condemnation by a misguided "Republic".
3° The Provocative Art.
Throughout the period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never provocative. Art's function and aim was to transmit a clear educational message, understandable by the majority, and its means were to seduce populations as a whole, or more specific clienteles, by carrying a consensual discourse, which brings the recipients together around a collective culture, and a common ideal. Art was a sharing between the members of the whole society conceived as a centripetal community. Art was inter-social, that is, it had to be suitable for all classes of society, to be accepted by them as a common good and to foster communication within the community.
With the official Contemporary Non-Art appears a systematic reverse doctrine, of a total intolerance: the dogma of art that must disturb the peoples. Art is no longer made to induce the adherence of the populations, but to disturb them, to provoke negative reactions of opposition, of rejection. The official discourse on art constantly proclaims the alleged need to "question" all traditions. Thus the "initiate" will distinguish himself by spreading praise on this so-called catharsis, and the uninformed, the zombie, will be stigmatized when he dares to criticize the absurdity of dogmatic violence made to beauty and meaning.
This dogma of "the art that must disturb" has all the characteristics of the intolerant language of certain religious doctrines of which fanatics are unable to admit and understand that a faith in a true God can pass through paths other than their own, and expose truths other than those in which they believe.
There is no longer any question of faith in a revealed God for the supporters of the "Enlightenment", but this doctrine of art, which has the duty to disturb peoples, is in reality the expression of a faith in a higher and revealed Human Reason, requiring a secret initiation. This doctrine is the translation in the field of aesthetics of an elitist, sectarian and dogmatic ideology. Fanaticism has desacralized itself in the West, but it remains identical to itself, and it is still as dangerous to freedom
Provocation is one of the founding principles characteristic of official contemporary art. If we want to understand official contemporary art and even a certain street art (that of vandal tags) we must think on the same ground as him. Oppose provocation and explicit contempt to the provocation and implicit contempt for peoples that is characteristic of official contemporary art. This is why official contemporary art, state art and even supra-state art, globalist, an art characteristic of our current Western civilization, reveals a worrying state of mind of the elites, an obvious overestimation of themselves, and poses a very real social and politic problem.
4° The Botched Art.
The botched Art starts from the sketch, it is born from its abusive systematization.
The Sketch was essentially a preparatory study in the history of painting, which allowed the artist to ensure the coherence and balance of his finished painting. In this case, most often, the approximation of the drawing, the blur of the representation is only a draft, a project, an incomplete art that needs to be completed.
Many artists, over the past centuries, have fully understood that the sketch could, sometimes, exceptionally, be a finished work. In other words, a work about which a large majority of spectators, experts or not, felt compellingly that NOTHING should be added to it. It is not a mathematical definition, not even philosophical, but it is the best, as in the case of beauty: the common feeling, the majority, enlightened by the opinion of the elites, but widely shared within a society.
The sketch is a finished work only when it creates a singular atmosphere, particularly suggestive, carrying a poetry of its own, unique. When it becomes clear that more precision in drawing would close the doors to the imagination, to mystery, and would destroy a subtle balance between dream and reality.
But it is an alchemy whose secret can only be penetrated by great artists.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of the unfinished. An expressive force that the painting, well finished, well drawn and well painted, well finished, can indeed lose. But the poetic magic of the art of the blur cannot be systematic and loses all its seduction when it becomes a habit of doing and a conformity of the gaze.
Since the Impressionists, how many artists have blurred sketchs and paint stains, without art and for ease?
The aesthetics of our time has focused far too much on the sketch. The blur, the sketch, the stain have become a fashion, an obligatory culture. Always the same observation: good ideas, innovative and creative practices, become bad and sterile when they become systematized
In reality, artists are not the only ones responsible for this situation. In the 19th century Western society entered a culture that made of the material and economic success , and of the money, its main values. Since then, sketches, which would not have come out of the artist's personal files in previous centuries, have become commodities for profit. These goods are even found in museums.
Picasso, a painter in transition between modern and contemporary art, had a very good understanding of this economic mechanism.
Of course this evolution is dressed in Great Principles: It is not about Money, but about the Artist, the Freedom of Creation, the Progress of the Arts, a "new sensitivity", "living with the times" etc....
This omnipresence of the sketch, the blur and the tachism reflects not only habits of the gaze but also ethical and cultural values. The Art of sketching, blurring and symbolic and poetic suggestion has become, by spirit of both system and provocation, and also much by convenience and conformity to fashion, the easy Art, and the botched Art. The art of making a reputation and money as quickly as possible. We are at the opposite of the painting of previous centuries, at a time when art was a profession. A profession that could be learned at length, with difficulty, and that required infinite meticulousness.
5° The Sad Art
For centuries, European painting, European art in general, was designed to make peoples dream, or of an important part of a population: aristocracy, bourgeoisie or popular classes. When European painting painted monsters, diseases or war, it was only what was necessary to formulate a reminder to the realities of the world.
Apollo skinned Marsyas alive, Prometheus had his liver eaten on Zeus' orders, Adonis died, Orpheus failed to bring Eurydice back from the underworld. But Europe was not unhappy to be kidnapped, Aphrodite (Venus) was born and have loved, and spring regularly came back, like Persephone from the Underworld.
The Crucifixions, Burials, and Pietas were always accompanied by an Annunciation, a Nativity and a Resurrection. And after the Death of the Virgin come her Assumption and Coronation.
17th century Dutch art, secular and secular, untiringly proclaims the simple joys of family life, the seascape, the changing skies, village festivals, wedding dances and material abundances: meat, vegetables, cheese and flowers in abundance. A profusion that the skulls could not hide. Even without their teeth, farmers sang, certainly by drinking a little too much.
All the neoclassical, romantic and impressionist art of the 19th century has made you dream with landscapes from Italy or Europe: meadows dotted with poppies, fresh and friendly rivers, forests full of favourable shadows, mysterious castles, herds of sheep and cattle, shepherds musicians...... And apart from a few shipwrecks in a rough sea, on the whole, European painting was joyful and inspiring the peoples.
Dream of God, dream of spiritual or sensual Love, dream of eternal life, dream of goodness, purity and beauty, dream of motherhood, dream of paradise, on earth or in the air, dream of idyllic landscape, dream of successful hunting, dream of abundance. The Dream is not lacking in European painting during centuries, which are much more than a thousand years old. And this dream is still perceived today, even when it no longer corresponds to beliefs that are currently alive and shared. It is when ideologues and politicians, who impose on artists what art must be, have decided to paint a world that does not make peoples dream, that contemporary art has started: The Urinal of Marcel Duchamp is one of the archetypes of this "revolution".
The "Enlightened" have indeed invented the sad art. They are entirely wrong, once again despite their conviction that they are the Eye that illuminates the entire social pyramid from above: Art is what makes peoples dream. Not what gives them nightmares.
There is no doubt that during the 20th century in Europe, then in the West, a pessimistic, tragic and absurd view of life became widespread in the field of painting and sculpture
Are contemporary artists happy to have to produce this New Mandatory Art?
We do not see in the Contemporary Art rooms an art that breathes the Joy of Living and the Blossoming of Self.
Fra Angélico's works testify that this painter was happy to paint as he did. All in all, he was free! The same goes for the works of Pierre Paul Rubens or the Impressionists.
Looking at Van Gogh's works, one thing is certain: this tormented painter had the joy of freeing himself through his art from his difficulties in living.
What is the purpose of Art, if not to make people happy, or at least help them to live?
What is an Art that is not an enchantment?
Why a disenchanted Art? Systematically and ostensibly disenchanted?
The Hell of Enguerrand Quarton or Hieronymus Bosch was full of flames and horrible demons.
The Hell of our contemporary world has rationally evacuated all the obscurantist horrors of religion: it is as smooth, sad and absurd as white, yellow or black squares, plywood boxes, coal piles, cement beams, papier-mâché, piled up or suspended clothes and dirty cardboard.
It is the art of a globalist elite who refuse to communicate with their fellow human beings, and who are also unable to feel and make positive emotions feel. No beauty, no joy, no good. The art of making people dream has become the art of making them nightmares. It's more than sad, it's alarming. Would Democritus himself still be able to laugh about it?
6° The Rootless Art
The attendance at the Museums of Contemporary Art reveals a phenomenon that quickly becomes obvious and haunting, from the moment the visitor becomes aware of it: the past of mankind and the history of civilizations are totally absent. It is once again the same observation: it is the opposite of Fine Arts (Belle Arti, Schönen Künste, Fine Arts). An atemporal Anti-Art, where all memory of the past is absent, is displayed in the Museums of Contemporary Art.
Official Contemporary Art is a cluster of diverse "things" that constitute a display case of present, an omnipresent present, totally cut off from any spatial or temporal environment:
Plain canvases, coloured or not, lines, dots, strokes and circles, squares or rectangles of various colours, and of course stains, especially stains. Rubble, pipes, broomsticks, mops, ladders, beds, chairs and wobbly tables, piles of various things: coal, stone, cardboard, paper, plastics. Rusty, twisted, broken, bent, broken beams, assembled cardboard boxes, stacked clothes and rags, open or closed boxes, broken or crushed machinery, pipes, cement beams, rubble, cinder blocks, tiles, whole or pulverized bricks, neon tubes, empty bags or full bags (it seems that conceptually it is very different), all kinds of pipes (iron, cement, plastic), rubber, buckets, jugs, pots; fences, telephones, typewriters, packaged or not, sinks, urinals, bicycles, fruit and vegetables, a whole variety of flea markets, but absurd where they are exposed: in the art museums.
A multitude of art schools claim to be inspired by contemporary society, especially its sciences and techniques: Conceptual art, video art, computer art, digital art, bio art, there is no shortage of names, but the resulting installations, apart from their systematic ugliness, far removed from the reality of today's laboratories or factories, are totally devoid of any meaning actually related to the human sciences and techniques as they are practiced. In the same way that these installations are in no way related to the actual urban life of a large part of the Western population. Fortunately, our cities do not resemble our museums of contemporary art.
Objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
Contemporary art museums are a accumulation of objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
nor the context of utility, because the objects presented are totally out of their real use.
nor the geographical context, as they are not representative of any culture characteristic of a region of the planet.
nor the historical approach, because these objects have no connection with the history and past of human societies.
There is nothing in these museums that can root the visitor in the history of his or her community or a particular community.
By observing Institutional Contemporary Art, by studying its discourse, it is clear that Western man is not either on the path of rapprochement with Nature. Nature, animals, and humanity - except when it is ugly and absurd - have almost totally disappeared from Western institutional art. The rapprochement with Nature is however a theme that all Western media aimed at the general public regularly develop. The theme of the animal has not disappeared from street art or from local, regional or national private commercial art either. It is omnipresent in photography.
Why this divorce between the Official Globalist Art, art reserved for the enlightened elite, totally artificial and counter nature, and the arts or media aimed at the general public?
Why is this Institutional Art uprooted not only from the different human cultures, but also from Nature?
The spectator is locked in a constant, haunting, terrifying present by his anonymity and his absence of any identity reference point. Contemporary art is Alzheimer's disease on the scale of the whole society: each moment follows one another without being connected to the moment before, and even less to a distant past. An anthill art in which generations succeed one another without any memorable link, only the chain of instinct remains active.
The official contemporary art is obviously designed to erase the memory of men and be better able to guide the remains of intelligence that will survive this treatment. It is easy to understand why the main audience of these contemporary art museums are students from schools, colleges and high schools.
This situation is indeed not the result of chance but of a political will based on a perfectly identifiable ideology: The "Enlightenment" ideology contained some important, timely, creative and living truths. But these truths have been interpreted in paroxysm of their extremism, and settled in absolute, systematic, unique and universal Truth, denying all the values and experiences of past civilizations. This new totalitarianism carries, like all totalitarianisms, tragic Shadows, and finally Death. When man claims himself to be the "Lights"", the lights of his only reason, it is quite consistent that he ends up in the deep shadow of error, of ignorance, ugly and absurd. What official contemporary art demonstrate.
Official contemporary art, that of the museums that bear this name, puts into practice, in the field of aesthetics, a fundamental principle of the Enlightenment ideology: "La Table Rase" (the clean slate). The European past and that of all civilizations is retrograde and obscurantist, it is the time of the Shadows. He must disappear completely so that the new Humanity can flourish in the Modernity, that the "Lights" alone represent. In the USSR, in Maoist China, this ideology of the "Table Rase" was imposed by an explicitly violent democratic totalitarianism, a single party claimant as legitimate "the dictatorship of the proletariat". In the capitalist countries the methods are different: totalitarianism is hidden behind the appearances of the supposedly plural liberal democracy. His methods are those of a disguised violence, underlying, inspired and organized by organizations hidden from the eyes of the general public: those of the manipulation of the opinions and the spirits.
The roots of peoples, the links of nations with their past must be totally severed in order to allow only the true and only doctrine to remain, that to the glory of universality. According to the High Priests of Globalism, this would be the price to pay to guarantee, through the disappearance of nations, ethnic and cultural groups and the creation of a single government on a global scale, a bright future, peace and paradise on earth. The disappearance of human roots is indeed the same project as the disappearance of nations. From the forgetting of the roots to the destruction of the roots, the distance is minute: this is what the officially involuntary fire of Notre Dame de Paris shows. The centuries-old oaks frame of Notre Dame de Paris can burn, as accidentally, it is not at all a disaster, it is even an interesting opportunity. She will be rebuilt in a few years. She will even be better: it will be made of concrete, and brand new. She can always be kept on the World Heritage List. What are the retrograde spirits complaining about who are obscurely attached to the past?
Official contemporary art is an art specially designed for uprooted, emigrated, immigrant, mixed peoples: Nothing reminds of their origins, their specific cultures, their former territories. Their symbols, even the most expensive ones, will be destroyed, intentionnaly burned down. It is the globalist project whose ideology and politics are reflected in the official contemporary anti-aesthetics.
7° The Obsessional Art.
The obsession we are talking about here is that of Modernity, the New, Change, Revolution, Progress. It is mandatory to paint, sculpt, install, everything and anything, on the sole condition that it has never been done before! Toilet paper rolls on the floor? That's a great idea! On one condition: you have to be sure that this has not already been done! And if this has been done, it is possible to do the same thing, but with real or artificial soiling, in addition. It will be even more novel and a real improvement!
This obsession with novelty here too is in line with the dogma of the "Table Rase" and is inspired by the doctrine of the denial of the Past, which is a fundamental point of the catechism of the extremist Enlightenment. The direct consequence of this monomania is obviously the over-valuing of the present and the future: a permanent agitation, a feverish irritation, without any real purpose, without prudence, without good sense, a sterile effervescence and even destructive of the major balances needed. It is "le Bougisme" (The Febrile Agitation), by Pierre André Taguieff (Résister au Bougisme. Fayard 2001). In inventing this neologism, Pierre André Taguieff rightly denounced the morbid cult of change for change. This absurd ideology of mandatory novelty, at any price, obviously causes its devastation in art, as elsewhere in Western society.
Even if the beginning of the 21st century is beginning to raise alarm bells about human nuisance, the obsession with Change and Progress through human action remains a constant in all official speeches and one of the first commandments of ideological and "artistic" catechism.
Conclusion: The Artificial Art. The Dead Art.
The seven-point specifications that are imposed on contemporary artists determined to build a reputation in official art have an obvious consequence: Official Contemporary Art is a totally no sincere art, a summit of artifice and conformity. European art as well as universal art has always been commissioned art for thousands of years. In the entire history of civilizations, indeed, art has only existed on commission. It is always the ideological and political elites who have inspired, guided and financed the art of different civilizations. With one notable exception, in Europe, during the Modern Art period. We have said why in other texts: in a word, ideological diversity. But art on commission, in ancient times, even when a single ideology dominated, did not exclude that artists could create with sincerity, and therefore freely, an art that was commissioned, but authentic and shared. The entire history of European painting since medieval times is proof of this
This is what has obviously changed with official contemporary art since the second half of the 20th century. To be forced to create the ugly, the absurd, the sad, to be forced to provoke and disturb the peoples at the base of the pyramid, is obviously very overwhelming for the official artists themselves. Even when honors and profits are at the end of the road. Their art is artificial, it does not carry any living truth. An art on command, but a dead art.
The sincerity, the good faith, of the artist is a condition, certainly not sufficient, but absolutely necessary for art. We see well in the ancient arts, when the painter, even talented, no longer believes in what he paints. This feeling is very clearly found in religious art, at certain times, in some artists even of great talent. In ancient art, it is an individual or cyclical phenomenon.
On the other hand, in official contemporary art museums, the lack of sincerity, inauthenticity, falsity, duplicity is general and structural: the spectator is immersed in an atmosphere of constant lies, constrained artifice, hypocritical affectation, deadly boring complacency. This is exactly the meaning of the title of Aude de Kerros' book "L'Imposture de l'art contemporain" Eyrolles 2017.
Official Contemporary Art is an Imposture because it is an imposed posture, an obligatory behaviour, a deadly constraint for the freedom of creation.
A Beautiful art that is understandable by peoples, the sharing of a living and positive emotion with the public, this is not the problem of the "artists" of official contemporary art. Their only interest, obvious to the visitor, is their social success. These artists paint, sculpt or "install" to enter the museums. All sincerity is dismissed as dangerous for the success of this company. It is necessary to meet the conditions to be accepted by decision-makers : to do at all costs, the new one and ugly, and to achieve the most absolute provocation.
It is clear that authenticity, sincerity, remain alongside of this road imposed on artistic creation. Some opportunists are perfectly comfortable with these constraints , because it is a demanding set of specifications, but it does not require any strictly artistic talent. Others many artists are constraining themselves, in order to obtain public recognition. Still others refuse to play this game and do not enter the great museums. These constraints and refusals certainly have an aesthetic cost at the level of the global society.
Sincerity was a criterion of the European aesthetic of the past. It did not matter whether the belief was false or true, or more or less true, not in conformity with rationality as we understand it today. It is a historical fact that all the great religions have been, for millennia, at the origin of authentic, sincere, beautiful, significant arts, shared with peoples and recognized by time. The evidence is that with Official Contemporary Art, authenticity is dead, and the sharing it with it of course. The attendance of contemporary art museums shows that there is no current between artists, their official patrons and the majority of the public, who can freely decide on its activities.
"The majority of opponents of contemporary art are totally invisible and voiceless. Artists and amateurs who compose it act as if Contemporary Art does not exist. They consider it so void that it is not necessary to pay any attention to it, nor to make any critical effort."
Aude de Kerros L'Art Caché. Eyrolles 2013.
These opponents are right about the aesthetic nullity of official contemporary art. But they are wrong to remain speechless, because this art is a revelation of the state of mind of the ruling elites. The governed must pay very close attention to the visions of art, and therefore of the world, of their rulers, because they concern them directly. The "Massacre of the Innocents" is a current situation, not just an anecdote from the New Testament. An ideological and political elite that has made a profession of faith to massacre beauty, meaning, sincerity, art in general, and proclaims its right to disturb peoples, is suspect. The massacre of painting, the massacre of art is the announcement, the prefiguration of the massacre of peoples (the "Yellow Vests") by their ideological and political elites. Recent history has shown that explicitly totalitarian, Nazi and communist, genocidal societies have been unable to create an authentic and sincere art. The vast majority of artists have fled them.
The liberal capitalist society, triumphant in our time, has acted in a much more politically subtle way by creating an Official Mandatory Anti-Art. Is it an effective and sufficient antidote against totalitarianism, that this society has allowed reserves for beauty, meaning, sincerity in other fields such as photography or street art, or in a private art not accredited, adventitious? It would be wise to seriously doubt this.