#tabula smaragdina

[occvltswim]

اللوح الزمرذ

[artblooger19moon]

OVERLORD Light Novels

OVERLORD 1 The Undead King

OVERLORD 2 The Dark Warrior

OVERLORD 3 The Bloody Valkyrie

[sokolygrandaananeva]

The Secrets of Alchemy in 1545

[yurious-george]

Anyway. Goops is absolutely part of whoever tf the founder is and represents the Nigredo of her soul. It's literally just her darker half. the wiw is the Albedo. The founder is represented with the gold symbol because that was the ultimate goal of alchemy, the purification of lead into gold, and gold as such represents alchemy's final state. and undine had to be the main character because fish can pass through the barrier (due to the water) and they'll need her water powers to go outside. sorry for spoiling but i hate you, personally

[lovelyyandereaddictionpoint]

Can I send an idea you know there are multiple supreme beings of nazerick. Imagine of them has a wife(Not Ainz's wife). Imagine that wife looks baal zebul from bayonetta. I would love to headcanon that she works as a lounge singer IRL. Maybe she could be married to Albedo or Shaltear's (creator).

Married to a Supreme Being | Yandere Overlord

That’s an interesting idea. That you are brought into the game without being actively a part of it. Your partner is the one who plays religiously and helps you boost your levels. When you arrive as your character you’re truly taken aback. Thinking it's more like an isekai anime you're pleasantly surprised to recognize the name of Ainz Ooal Gown:

Peroncino

“I love H-games.”

“I know you do which is why I’ll dismiss the cleavage on my costume.”

When he started the guild he probably wasn’t seeing you seriously

As a friend or coworker

When he does get the ring on his finger though the guildmembers notice

And so do his creations 

When Ainz finally does find you he’s ecstatic but also worried

Shalltear on the other hand is on cloud 9

“Mother/Father! I’m so happy you are here! Did Peronchino-sama come with you?”

She’s hurt for a little while but she’s your sweet little guard dog

Granted you could hold your own she’d rather you never lift another finger again

Draining and devouring any human who so much as offends you

She’s a lot more hostile until she gets pets from you

And she’ll never stop bragging

“See? Ariska Peronchino-sama left his love to me because he trusts my power most.”

She pampers you to no end and with Ainz’s unexpressed permission

She’ll be in charge of your protection

By any means necessary

Tabula Smaragdina

“Darling you’ll wear the leather harness right?”

“Darling~You’re microphone is on….”

“...Will you?”

He doesn’t speak about you too openly 

But his close friends, the entirety of Nazarick know he’s snagged someone

The lore he writes is so detailed and convoluted that there are a few lines that reference you 

Ainz would never know that when he brings you to Albedo and Nigredo they’d have such a visceral connection

“(Y/n)-sama!? To think I’d have you here is a miracle! (Y/n) if I may, there’s so much I have to ask you! ”

“My…my….my creator’s significant other…your greatness!”

Albedo is quite open about her pride in you 

Bragging with a blush on her face as she returned from a conversation over tea

She adores that you’ll encourage her newfound obsession with Ainz

“And he squeezed me!”

“Oh my so forward! I think you're a shoo-in for the first wife! Even my darling Tabula wasn’t so forward with me.”

“No way!?”

“Yes, I had to take quite a few advances myself.”

“How romantic!”

And Nigredo

Oh Nigredo

She’s honored you came to Frozen Realm just to see her 

Let her rest her head on your lap as you brush through her hair

“Nigredo, you’re as beautiful as the day Tabula made you.”

“Oh, my supreme!”

“You may call my name Nigredo. I’d feel outcasted as an extension of your creator.”

“Do not harken my insolence to your grace. I’m grateful to be gazed upon by you.”

Both will protect you with a veracity that rivals their typical bloodlust

Ainz may be leading them but you are their creator’s prized partner 

You’re the closest thing to their dear Tabula, they both promise to never let you go again

Both Images From Wiki

[noise-vs-signal]

The Stages of Spiritual Alchemy

The First Step

The first step in personal transformation is to split ourselves inwardly and psychologically into two persons:

(1) The one is to be an IMPARTIAL OBSERVER from the point-of-view of the highest and noblest part of our nature with which we are in touch and which sincerely aspires to positive and constructive change.

As this part develops and grows stronger, it will progressively merge with the Higher Ego, freeing itself from all influences of the Personality so that it may observe ALL aspects of the Personality, including attitudes. This means that it must become completely objective, impartial and uncritical.

For a long time, this Observer will be completely passive and the Personality active. In the beginning, the Observer will be completely powerless to change the Personality.

(2) The other part is to consist increasingly of ALL ASPECTS OF THE PERSONALITY—bodily sensations, vitality, sense perceptions, feelings, urges, appetites, emotions, thoughts and, ultimately, attitudes. This part will be the active agent for some time.

As we become more advanced in our development, the first part, the Observer, will become the active agent of the higher Ego, and the Personality, or second part, will become the passive servant of the Higher Ego through which the Ego may express itself more and more completely at this present Planetary level.

This whole process is the building of Antahkarana or the “Rainbow Bridge”—literally the “Internal Instrument” of the Higher Ego—the link between higher mind and lower mind.

The first step of psychologically splitting ourselves into Observer and Observed is akin to the Polarization of the ONE LIFE at the beginning of a Great Cycle of Manifestation, or Manvantara, into the subjective I-centered Spirit or Persona—Father Self, and the objective external Matter or Material Nature—its outer world or Mother-Space.

As explicitly stated in the Emerald Tablet of Hermes (the Tabula Smaragdina):

“It is true, no lie, certain, and to be depended upon, that the Superior agrees with the Inferior and the Inferior with the Superior to effect that One Truly Wonderful Work.”

The creation of the OBSERVER signals the birth of the CHRIST CHILD in us. Its development in the beginning is precarious, and as Jesus admonished:

“It would be better for a man that a millstone be placed first about his neck and he cast into the sea than he should offend one of these little ones.”

The Three Stages of Spiritual Alchemy are as follows:

1. The Black or Putrefactive Stage - Preparation

The Personality is prepared for union with the threefold Spiritual Ego by:

Freeing the lower Concrete (analytical) Mind from the influences of the Desire Body, i.e., control of the Desire (emotional) Nature.

Cleansing of the four lower bodies (vehicles of form) of the Personality (the “lower quaternary” of our sevenfold nature).

Transmutation (refinement) of the Physical, Vital (etheric) and Desire (emotional) Bodies.

2. The White or Silver Stage - Purification

Concrete Mind development and establishment of the first connection to the Higher Spiritual Ego (the “upper triad” of our sevenfold nature), i.e., union of the Personality and the Higher Ego—building of Antahkarana or the “Rainbow Bridge,” the Internal Instrument of the Higher Ego.

3. The Red or Gold Stage - Perfection of Union

“Heart” (abstract mind and intuition) development and establishment of the connection between the threefold Spiritual Ego and the Monad or Virgin Spirit (our inner Unity)—the core SELF or Inner God, the Divine Spark.

Theory of the Transformations of Spiritual Alchemy

The work of personal transformation in Spiritual Alchemy is to prepare the Personality for union with the Higher Ego or Spiritual Triad. This preparatory work consists of a series of conscious efforts and special exercises in awareness that bring the Universal Life-Force to bear at various levels of our Being to purify and transmute the four bodies of our Personality.

These transmutations result in raising the vibrations of these bodies so that they may be more receptive to higher spiritual influences. This allows them to operate harmoniously and in unison to channel these influences, which transmit the higher wisdom of the Spiritual Ego, to the physical brain.

Work on the dense physical body—which may be considered as the outer shell of the Personality that allows us to function in this Dense Physical Region of chemical solids, liquids and gases—needs no special comment other than the commonly accepted living practices of proper diet, exercise, fresh air and water, stress management and sufficient rest.

The vital body or etheric double, which replicates and interpenetrates the dense physical body atom-for-atom, functions in two major ways. Its first function is to maintain and propagate the dense physical body.

The second function of the vital body is to serve as the medium of sense perception and memory of immediate life-events or impressions. In this capacity, the vital body acts as an interface between the physical brain and the psychic centers of the desire (astral) body and mental body, transmitting impulses from these centers to the physical brain.

The first transmutation of Spiritual Alchemy takes place with the vital body. Here, repetition of aesthetic and altruistic practices, and the reading of, and meditation on, inspirational writings, brings the Life-Force to bear as a digestive agent (analogous to an enzyme)—or in alchemical terms, the Azoth, the vibratory rate of our highest (finest) emotional force-matter (desire-stuff).

The transmutation of the lower insentient “vegetative” ethers of “creaturehood” to the higher “spiritual” ethers of sentience refines the vital body, rendering it more responsive to finer perceptions.

This process also helps to build the “Soul Body” (Soma Psychichon) or “Golden Wedding Garment,” which vehicle, when sufficiently developed and organized, can be separated from the vital or emotional body that remains with the dense physical body to keep it alive. The “Soul Body” serves as an outer vehicle of sense perception in the Etheric Region of the Physical World for healing work. A person so constituted is called an “Invisible Helper”.

The next transmutation, which may be called “the First Great Alchemical Transmutation of ‘Base Metals’ into ‘Silver’,” involves work on the emotional (desire or astral) and concrete mental bodies. This transmutation occurs in two steps:

The first step “digests” the “food” of raw impressions—etheric, astral and mental “substances” to:

The highest emotional force-matter (“desire-stuff”) or medium of the finest, positive, aesthetic and altruistic feelings.

Average mental force-matter (“mind-stuff”) that serves as the medium for enhanced day-to-day reasoning and reckoning.

This first step consists of a special act of self-awareness, which may be called, variously, “Self-Remembering”, “Self-Recollectedness” or “Prayerfulness”, and which brings to bear the Life-Force as “Azoth”, a “digestive” agent having the vibratory rate of our highest (finest) concrete “mind-stuff”. It may be called the “Lunar Azoth”, and acts through the force of our attention or awareness being directed and focused from the perspective of the highest level of our concrete or analytical mental organisation - our intellectual discriminatory power.

Self-Remembering, which acts as a “Conscious Shock,” bringing us to a more intense state of awareness than we normally experience in our ordinary “waking” consciousness, may be described as a “breathing in and out” of the attention or awareness between external and internal events on the one hand, and our inner reaction to these events on the other hand.

In other words, we are experiencing things like bodily sensations, emotions and thoughts generated either from within ourselves or through an external event like an encounter with another person, while at the same time, being aware of ourselves experiencing these things.

In this way, by gathering in all our attention and focusing it deliberately through an act of will, our state of conscious-awareness is raised. We become more truly awake, the required shock is administered, and although uncomfortable, we can respond much more intelligently to situations than we normally do.

This process, as can be seen, brings down the force which digests the “food-of-impressions” and enables us to consciously assimilate our life experience. In this manner we learn and develop ourselves much more than we ordinarily would from these experiences.

We also become more psychically energized and stimulated (you can actually feel these energies). Normally, as so often happens, people take in impressions for the most part unaware of them and store them subconsciously where they may fester unresolved. This frequently is a source of anxieties and other negative emotions that are destructive to health by virtue of the fact that they enervate rather than energise.

As an aside, about the terms “Self-Remembering” and “Self-Recollectedness”, consider the literal construction of the words “re-member” and “re-collect” which implies a gathering-in of something.

Consider also that the true meaning of prayer and prayerfulness is the process of connecting up and getting in touch with our own Higher Nature, in which Self-Remembering is the first stage.

Finally, I suggest that a first step in practicing Self-Remembering is to focus as much of the attention as possible on some aspect of the physical body, such as awareness of breathing, or the circulation of the blood, or the sensations in a specific body part such as a hand. The physical body is then used as a rallying point for the attention.

Later, we can learn to be aware of our emotions and our thoughts, and eventually even our attitudes. Becoming adept at this self-awareness of attitudes and motives is an absolute necessity in gaining self-mastery and succeeding in the process of positive spiritual self-transformation.

The second step in the “First Great Alchemical Transmutation” of “Base Metals” (i.e., raw impressions) into “Silver” (i.e., highest concrete “mindstuff”) involves a still higher and deeper process of Self-Recollectedness by which we bring down the Life-Force to bear as “Solar Azoth”, a “digestive” agent having the vibratory rate of our abstract mental energy, or “mind-stuff,” or force-matter of the Causal Body or Augoeides.

In this state we become aware from an even higher vantage point than that of the first stage (i.e. the higher concrete mind), namely, in this second stage, that of the intuitive level, one of much greater wisdom and broader perspective.

The "Solar Azoth" acts to transmute average concrete “mind-stuff” to highest concrete “mind-stuff”, our Alchemical Silver. This is accomplished through the power of an aspect of the Vital Force or Prana directed from the Splenic Chakra, and/or an aspect of the Kundalini Serpent Fire or Creative Force directed from the Root Chakra.

Highest “desire-stuff” or astral force-matter might also be transmuted in this second step. In any event, this “mind-stuff”, our Alchemical Silver, must be accumulated in sufficient quantity before we can carry out the “Second Great Alchemical Transmutation of ’Silver’ into ‘Gold’.

Our Alchemical Silver can be squandered and its formation inhibited in so many ways, for example:

Through worry and other negative emotions such as fear, anger and resentment.

Misuse or non-use of mind potential.

Over-directing the attention toward sensual urges and frivolities.

Excessive talking (both inner and outer), negative imaginations and other unnecessary expenditure of energy.

Finally, “The Second Great Alchemical Transmutation of ‘Silver’ into ‘Gold’” defies adequate description in words. It is something that must be experienced by each of us as individuals. One person’s experience of it may differ considerably from that of another, and it may vary in intensity from person to person.

I can best describe it as a process of self-surrender—that is, surrender of the personal will of the lower nature to that of the Higher Self or Spiritual Ego, Adoration or Union with our Inner Divinity Monad (which is Union with God), and the “breathing in of the Holy Spirit - the Outpouring or Light of the Solar Logos”.

This is a second “conscious shock” which, without exaggeration, completely shatters for an instant our identification with the Personality. The impact of this “shock” brings down the Universal Life-Force to bear in the most potent form that we can possibly endure and still preserve the integrity of our individuality.

This, Alchemically speaking, is the “Highest Azoth” or “Universal Mercury.”

Our Alchemical “Gold” is then the abstract “mind-stuff” or force-matter of the Causal Body, the “Augoeides” or “Vesture of Light."

This is the only substance that is not digested by the Holy Spirit, and the finest, most energetic substance that we can specialize and organize at our present stage of evolution.

The Augoeides, then, is the only vehicle that can contain the Holy Spirit, and its formation in us comprises the Holy Grail, the Chalice that is filled with the Light of the Solar Logos, literally the Blood of the Solar Christ.

With this formation, we become the Philosopher’s Stone, a channel for the Universal Agent of Transmutation - the Life-Force - the “Tincture of the Philosophers.”

This is the aim of the Great Work or “Magnum Opus” of Spiritual Alchemy, the Science of Personal Transformation. The individual so transformed is said to be “Christed,” to be “filled with the Holy Spirit,” and is called the “Magistery.”

Images and text from “Spiritual Alchemy” by Dr. Bruce S. Fisher (2000).

See also:

"Alchemical Transformations in Spiritual Alchemy".

"Culmination of the White Stage and Completion of the Soul-Body".

[lexsssu]

Attached (Alastor)

TAGS: Alastor/Dragoness!reader, some plot, fluff(?), drabble Ao3 ver. | Ko-fi | Commissions (OPEN)

You found him bleeding out at the site of a wreckage.

Wherever it is you were transported to, it had certainly seen better days. Aside from the red sky, the debris and ruins that littered the ground were alarming. If there’s one thing you can be sure of, it’s that you’ve arrived at the scene of a battle.

One that had thankfully seemingly concluded just before your arrival.

Which also explains why the deer-like individual had such terrible gashes upon his body as he rested against the broken audio equipment. 

In spite of the voices at the back of your head that sounded suspiciously like Momonga and Tabula Smaragdina, you forego the logical choice of leaving him there to secure your own safety in this new environment.

Instead, you crouch down on his side and run the sharp tip of a claw on the skin of your wrist until a small gash bloomed open.

You cup the back of his head and press your wrist against his slightly open mouth, taking no notice of the shadows on the floors writhing and spreading like mold.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“I never knew my parents,” you admitted nonchalantly as you petted the demonic-looking cat that bore a striking resemblance to the Radio Demon who loomed over you from behind your seat.

Surrounding you were the Hazbin Hotel’s residents, including the head honcho of hell himself, Lucifer. They’d given you a summary of everything that had happened with the angels, and in turn, you answered their questions about you.

“..You don’t know a single thing about them?” 

Lucifer who had gone quiet the moment you entered the newly made hotel spoke for the first time, staring at you with an odd look in his eyes.

“No, I don’t.” 

Not knowing your own parents was never an issue for you, because you still grew up surrounded by love and friendship from the makeshift family you had at the orphanage. 

“From what the orphanage director told me, my name was stitched on the blanket I was wrapped in. She figured that I probably got my name from either of my parents.”

You were naturally talking about your actual name, and not your beloved in-game avatar’s name. 

Not that any of them knew that.

Had you clarified this tidbit of information from the start, it might have prevented all the misunderstandings that swiftly followed after your admission.

Before you or anyone else could react, Lucifer lunged at you.

Shouts of surprise reverberated across the lounge as the king of hell and the overlord clashed for seemingly no reason. Alastor’s body shielded you, elongated antlers and sharp teeth in full display, whereas Lucifer stood with all three pairs of his wings spread out.

"̴͉̟͠͝A̶̛̯ṅ̸͔d̴̹̒͝ ̶͕̙͛͘w̷͎͕͋̕h̷̨̲̐̓a̴͔̪̐ṱ̵̚ ̴͖͚́d̴̝̾̄ŏ̶̢͍ ̷̖̾̎y̷̮̅o̴̫̩͝u̷͍̕ ̴̨͕́̕t̷̪͂̍h̶̲͎̿͝ĩ̴̠n̷̙̙̄k̴̙͊ ̸̧͖́́ý̴͔̮̈o̶̱̹͗̒u̶̞͋'̴̦̔̈́r̷̘͔͐ě̶͉̗ ̸̳̱̋d̶͓͝o̸̱͎͒̚ì̶̦͘n̸̖͇̑g̴̝̠̀?̶̝̔"̶̰̆

“Get out of my way,” the venom that dripped off Lucifer’s voice could only be comparable to the way he spoke to Adam not too long ago, noted Charlie. Even odder, there was a tone of desperation that felt out of place to her.

Unbeknownst to her and everyone else, she would get her answers almost immediately.

“I don’t give a single fuck about your petty contracts, but you will not prevent me from being with my own daughter!”

Charlie’s whole word seemingly exploded as all hell broke loose after Lucifer’s revelation, and all she could do was stare with her mouth agape.

Her dad had a lot of explaining to do, and she had a new sibling to get to know.

[rakubalka]

Hey @khr-guilded-cage @massivechildtidalwave

Remember the Overlord x KHR au I made a while back

You know the one in which Tsuna was the only other still active member of Ainz Ooal Gown and as a result also got isekaid

Well here is his character desing I made

So what do you think ?

(I really need to learn how to paint with no line art 🥲)

Name :

Sky27

(Ainz Ooal Gown)

Titles :

Ainz Ooal Gown's Resident Teenager

The Fire On The FirePower Duo Of Ainz Ooal Gown

The Person With The Shittiest Race In Nazarick

Alignment Neutral

Sense of Justice 50

Racial level :

Child of a Fire Serpent 5 lv

Job level :

Fire Mage 10 lv

Zhrets 10 lv

Vedmak 5lv

Hokage 10 lv

Master Assassin 5 lv

Others

Levels [ Racial + Job ] Total 100 level

5 racial level 95 job level

His Heteromorph race is "Child Of A Fire Serpent" . It was made more so as an istareg and not made all that playable , mainly because of its abysmal HP and ridiculous high weakness for cold (and also because there is only one race class in the whole race) . It does allow for some pretty good fire magic damage but the people who would do that normally just go for other a fire or just elemental races because of the again abysmal HP .

Tsuna however while (relatively) just starting the game found the quest chain that gives the item that made it possible to change race to this , and from then on just fell in love with this race specifically .

The horns are a head piece he wears for extra magic . It was a present from Amanomahitotsu .

The levels in stealth clases is because of his habit of getting close and personal with his opponent despite the before mentioned abysmal HP . The whole guild tried to make him break the habit until at some point Nishikienrai said screw it and gave Tsuna some of his old equipment and made him take levels in assassin type classes to use it . From then on Tsuna became as common to see on the front lines as the tanks ( kinda like Warrior Takemikazuchi except he dies less)

At some point there was a game wide victorina the prize of it being a world item . Tabula Smaragdina beat everyone's ass and when he found that the prize "Cloak of Winter and Death" not only gives full immunity to cold (and also a stealth boos on how cold it is) but also is clearly inspireded by a goddess in the mythology that he got Tsuna into it also got given to Tsuna as a present imidiatly (Tsuna is the guild's baby)

[talonabraxas]

V.I.T.R.I.O.L. is an acronym which stands for Visita Interiora Terrae Rectificando Invenies Occultum Lapidem. This translates to "Visit the interior of the Earth and by rectification (purification) you will find the hidden stone." This image is purportedly found on the Emerald Tablet of Hermes (Tabula Smaragdina Hermetis) and is a revered alchemical text of the Rosicrucian order.

[diceriadelluntore]

Storia Di Musica #353 - Jorge Ben, A Tábua De Esmeralda, 1974

Tutti noi conosciamo una canzone di Jorge Ben, straordinario musicista e cantante brasiliano, anche conoscendo per niente l'artista. Perchè è autore di una delle canzoni più famose di tutti i tempi, e simbolo della musica brasiliana: Mas Que Nada! (1964 dal disco Samba Esquema Novo) portata al successo da Sergio Mendes e i Brazil '66 e poi divenuta uno standard jazz, una canzone dalle centinaia di cover, una sorta di cartolina musicale della musica brasiliana. Ma Jorge Ben (che fino al 1989 userà questo nome d'arte, ma poi lo cambierà Jorge Ben Jor, scritto anche BenJor, per frenare l'incidente legale che attribuisce parte dei suoi diritti editoriali al cantante e chitarrista statunitense George Benson) è uno dei grandi autori di musica carioca, e uno dei pochi non "bossanovisti" a travalicare gli argini internazionali con dischi importantissimi.

Bravissimo chitarrista, dalla fine degli anni '60, quando ottiene altro successo importante con il disco Jorge Ben, che contiene altre due canzoni famose come País Tropical e Charles, Anjo 45, inizia un percorso sperimentale musicale che lo porterà nel decennio successivo a scardinare le strutture classiche della musica sudamericana, intrecciando le influenze delle musiche occidentali come il soul, il funk, ma anche ribaltando completamente la traiettoria, rifacendosi alla radici africane della musica brasiliana. Questa ricerca si traduce in tre dischi, eccezionali, che pubblica tra il 1974 e il 1976: sono A Tabua De Esmeralda, la scelta di oggi, Solta O Pavão del 1975 e África Brasil del 1976. Non hanno il successo commerciale dei precedenti, ma sono unanimemente considerati tre capolavori.

A Tabua De Esmeralda deve il suo titolo all'interesse di Jorge Ben per la teosofia, il misticismo e le arti magiche alchemiche: in copertina c'è una riproduzione della tabula smaragdina di Nicholas Flamel, grande alchimista e massimo studioso del XV secolo della pietra filosofale: la tavola smeraldina è un testo sapienziale che la leggenda vuole opera di Ermete Trismegisto (la fortuna della tavola smeraldina e del suo potere magico ha avuto ultimamente una rinascita con la serie Netflix Dark, che prende spunto dal testo). Musicalmente il disco, dominato dalla sua chitarra gioiosa e variabile (sarà l'ultimo disco dove la suona, prima di trovare difficile le registrazioni dello strumento rispetto alle sue aspettative sonore) ebbe un'enorme influenza sui musicisti brasiliani dell'epoca e contribuì in larga misura ad accendere l'esplosione creativa che ebbe luogo nelle scene samba rock e samba soul brasiliane durante gli anni '70. Il sound di questo particolare album è molto semplice, dominato dalla atmosfere acustiche, con le canzoni guidate dalla caratteristica chitarra acustica di Ben suonata insieme a un basso e percussioni, in una sorta di brazilian folk, anche per gli innesti che Ben mette nelle canzoni: cori, arrangiamenti di archi e un contrabbasso che rendono le melodie magnificamente realizzate, fluide, vibranti e con quel tocco magico che sia la lingua che la stessa atmosfera danno alle composizioni. Tra le tracce, quella apertura è l'allegra e bellissima Os Alquimistas Estão Chegando, con i suoi divertenti testi sugli alchimisti. Altri momenti particolarmente belli sono Errare Humanum Est, a tema spaziale, Zumbi, con i suoi testi ispirati all'Africa e che anticipano il lavoro profondo ed essenziale che farà con Africa Brasil, Cinco Minutos e Magnolia. C'è spazio per le canzoni d'amore come Eu Vou Torcer e Minha Teimosia, Uma Arma Pra Te Conquistar. Brother è cantata in inglese ed è uno spiritual carioca, O Homem Da Gravata Florida è un brano diverstissement che parla di un uomo dalla bellissima cravatta, in pieno stile realismo magico. Molti critici hanno notato che in realtà alcune canzoni sono riferimenti simbolici a personaggi storici: l'uomo della cravatta potrebbe essere Paracelso, O Namorado Da Viúva, l'innamorato di una vedova, è lo stesso Flamel.

Ben è stato una grande fonte di ispirazione, anche a volte "incosapevole": una sua canzone Taj Mahal, che riprenderà nel fenomenale Africa Brasil, fu la base per quella canzone di grande successo che fu Da Ya Think I'm Sexy? di Rod Steward nel 1979: portato in tribunale il cantante scozzese, Ben vinse la causa sui diritti e donò il ricavato dei diritti del singolo all'UNICEF. Ben scrive e suona ancora adesso, portando sul palco l'energia magica e indimenticabile della sua musica e del suo paese.

[skeleton-png]

This is how I personally believe Touch-Me and Tabula Smaragdina got along lol

[ariel-seagull-wings]

@the-blue-fairie @themousefromfantasyland @mask131 @professorlehnsherr-almashy @princesssarisa

The Emerald Tablet, the Smaragdine Table, or the Tabula Smaragdina is a compact and cryptic Hermetic text.  It was a highly regarded foundational text for many Islamic and European alchemists.

Though attributed to the legendary Hellenistic figure Hermes Trismegistus, the text of the Emerald Tablet first appears in a number of early medieval Arabic sources, the oldest of which dates to the late eighth or early ninth century. It was translated into Latin several times in the twelfth and thirteenth centuries. Numerous interpretations and commentaries followed.

Medieval and early modern alchemists associated the Emerald Tablet with the creation of the philosophers' stone and the artificial production of gold. It has also been popular with nineteenth- and twentieth-century occultists and esotericists, among whom the expression "as above, so below" (a modern paraphrase of the second verse of the Tablet) has become an often cited motto.

Beginning from the 1st century BC onwards, Greek texts attributed to Hermes Trismegistus, a syncretic combination of the Greek god Hermes and the Egyptian god Thoth, appeared in Greco-Roman Egypt. These texts, known as the Hermetica, are a heterogeneous collection of works that in the modern day are commonly subdivided into two groups: the technical Hermetica, comprising astrological, medico-botanical, alchemical, and magical writings; and the religio-philosophical Hermetica, comprising mystical-philosophical writings. These Greek pseudepigraphal texts found receptions, translations and imitations in Latin, Syriac, Coptic, Armenian, and Middle Persian prior to the emergence of Islam and the Arab conquests in the 630s. These developments brought about various Arabic-speaking empires in which a new group of Arabic-speaking intellectuals emerged. These scholars received and translated the before-mentioned wealth of texts and also began producing Hermetica of their own.

[joostjongepier]

Wat?   Fastnacht (2010) door Neo Rauch, Tabula Smaragdina (2023) door Michael Triegel, Hinter den sieben Bergen (19173) door Wolfgang Mattheuer en Chilenisches Requiem (1973) door Werner Tübke

Waar?   Tentoonstelling Bilderkosmos #2 Kunst aus Leipzig in Museum der bildenden Künste, Leipzig

Wanneer?   1 augustus 2024

De Leipziger Schule vindt zijn oorsprong in de Leipziger Kunstakademie, de huidige Hochschule für Grafik und Buchkunst Leipzig. Onder meer Wolfgang Mattheuer en Werner Thübke waren aanvankelijk student en later docent aan deze opleiding. Deze kunstenaars en hun leerlingen worden gerekend tot de Leipziger Schule. De kunstenaars bogen voor de staatsregels van de DDR, maar waren in hun werk wel degelijk kritisch. De derde generatie wordt gewoonlijk aangeduid als Neue Leipziger Schule. Hiertoe behoren onder meer Neo Rauch en Michael Triegel. In Nederland heeft met name Museum De Fundatie in Zwolle veel aandacht geschonken aan kunstenaars van de (Neue) Leipziger Schule.

Het eerste schilderij dat ik in het museum tegenkom, kan ik gelijk thuisbrengen. Het is ontegenzeggelijk een werk van Neo Rauch. Het is moeilijk zijn werk te beschrijven. Hij gaat vaak uit van droombeelden, maar ook de werkelijkheid van de vroegere DDR komt in zijn werk vaak terug. Zijn stijl is heel eigen en daardoor herken je een werk van Rauch direct.

Heel anders van stijl is Michael Triegel. Hij schildert op een uiterst precieze manier die middeleeuws aandoet. Zijn thema’s zijn vaak religieus.  Werk van Triegel is minstens zo raadselachtig als dat van Rauch. Neem zijn recente schilderij Tabula Smaragdina. Het werk heeft volop paassymboliek. We zien een vrouw die een geslacht en gevild lam in haar armen houdt. Een mogelijke, nogal gruwelijke, verwijzing naar het Lam Gods. Wellicht is de afgebeelde persoon de Heilige Agnus, die gewoonlijk wordt geportretteerd met een lam. Twee engelen hangen, als acrobaten, in de lucht. Eén van hen draagt een van het bloed druipend mes. Het bloed druipt langs zijn witte vleugel. Aan de voeten van de hoofdpersoon nestelt een distelvink, beter bekend als een puttertje. Volgens een christelijke legende plukte het vogeltje doornen van de doornenkroon van Christus en verlichte zo diens lijden. De opvallend rode kop heeft de distelvink te danken aan het feit dat een druppel bloed van het hoofd op zijn kopje terecht kwam. Onderin het werk zien we drie meisjes, waarvan er één foto’s van een man en een vrouw toont. Haar gestorven ouders? Evenmin als bij Neo Rauch biedt de schilder houvast bij de interpretatie van zijn werk.

Van Wolfgang Mattheuer, een schilder van de eerste generatie Leipziger Schule, hangen meerdere werken in het museum. Eén daarvan is Hinter den sieben Bergen. Boven een weg die door de bergen leidt, zweeft een vrouw met ontbloot bovenlijf aan gekleurde ballonnen door de lucht. In een tijd dat voor DDR-burgers reisbeperkingen golden, biedt dit werk een beeld van vrijheid.

Chilenisches Requiem van Werner Tübke gaat niet over de situatie in de DDR, maar richt het oog naar buiten. In 1973 vond in Chili een staatsgreep plaats waarbij legerleider Augusto Pinochet een staatsgreep pleegde en de burgerregering van Salvador Allende omver wierp. Tübkes werk toont een vrouw die gebogen is over het lijk van een naakte man. De afbeelding doet denken aan Maria die zich buigt over het lichaam van haar gekruisigde Zoon.

[primordialchoice]

I wonder if the name Zemargard has anything to do with the Greek/Latin/Semitic word for Emerald? Because Zemargard sounds familiar to the word smaragdus (Latin)/smaragdos (Greek)/maragdos (a Semitic language)

That could tie her to the Emerald Tablets (Tabula Smaragdina) and implicitly, Hermeticism

[otakween]

11eyes Rabbit Trails

As I was playing 11eyes, I made a list of interesting concepts/people/cultural/historical things that the characters brought up. Some of these I already knew about, but a lot I had to Google (hence "rabbit trails.") If I have time, maybe I'll come back and organize this one day.

Paracelsus & the elementals (Salamander, Undine, Sylph, Gnome) 

Aristotle - Soma, Psyche, Pneuma 

Aether (Bonus elemental) 

Amnesia 

Mutism

Hemiplegia 

Onmyodo/Onmyoji

Yin & Yang (concept) 

Maid cafes 

Kamiizumi Nobutsuna

Yagyuu Shinkage-Ryuu

Onan (Biblical character) 

Wajiro Kon

Raikiri

Tachibana Dousetsu

The Tale of the Heike (Kogarasumaru Amakuni)

Uesugi Kenshin

Gazu Hyakki Yagyou

Dōjigiri

Kempo

Vlad the Impaler (Voivode of Wallachia)

Breaking Wheel

Lucky number seven

The Seven Samurai 

Six Auspicious days

Seven Luminaries 

Kagome crest and lattice 

Star of David

The Lesser Key of Solomon

Iskender kebab, harees

Alexander the Great 

Reality lacuna 

Haggle (Sid Sackson)

Friedrich Nietzsche 

Phantasmagoria

Scholastica and Benedictus

The Seven Deadly Sins

Aeon of Horus

Thelema (philosophy)

Aleister Crowley

Carl Gustal Jung

8 emanations of Aeon (Gnosticism)

Demiurge 

Zoroastrianism 

Zurvanism

Mithraism

Mehed

The Womb Realm

Anattā

Edgar Allan Poe (The Black Cat)

Tai chi

Iskandar (Alexander the Great)

Satanail

Hand of Glory

Tai Sabaki

the supreme sacred congregation of the roman and universal inquisition (Sacred Congregation of the Index)

The Holy See

Galileo's Systema Cosmicum

Feng Shui, Li Qi, Loan Tou

World War II

The Crusades

The Whore of Babylon

Parallel worlds (quantum mechanics)

Crom Cruach

Qliphoth

Occitanian city of Bersièrs

Bythos

Sylph

Pnumea

Consolamentum

Pleroma

Nitocris

The Emerald Tablet (Tabula Smaragdina)

Magi/Wise Men

Morpheus

Pope Innocent the Third

Arnaud Amalric

Kukurihime (Nihongi)

Izanami and Izanagi

Niederhagen

Charlemagne

Paderborn Cathedral 

Crest of the Black Sun

Heinrich Himmler

Adolf Hitler

Wewelsburg Castle

Longinus Dreizehn Orden/Black Camelot

Ahnenerbe

Thule society 

The Hermetic Order of the Golden Dawn

Simon Magus

Fuu Manchu

The Holy Nails

Petronius

Bajiquan, Katori Shintou, Aizu Kage, Nen, Itto

Sun Tzu

Scopolia (Nightshade)

Battle of Dan-no-Ura

Der Ring des Nibelungen

All Saints Day

Penis Festival 

Monte Cristo sandwich

[stardust-in-my-mind-blog]

60. The two smudged forms in blue pigment directly above Scorpio and Mars may have been added later. Jung used a similar color in Mandala RB, p. 83 which is based on this sketch. They are similar in form to the "devilish monster" and the "larva" in Systema Mundi Totius.

63. This is the first appearance of runes in the mandala sketches. Although their exact meaning is unclear, their basic forms are identified in Jung's fantasy of October 7, 1917, regarding the runes in sketch 15:RB, p. 291, note 155. Jung had already used other types of hieroglyphic imagery in the Red Book, beginning with the glyphs on RB, p. 15. In a letter to Sabina Spielrein from Chateau-d'Oex on September 13th, 1917, Jung referred to hieroglyphs as symbols of "primal images"; adding "the new development that will come announces itself in an old language, in symbolic signs," one of Jung's underlying precepts in the Red Book: The Letters of C.G. Jung to Sabina Spielrein," in Journal of Analytical Psychology 46(2001),pp.187-88

65. In The Red Book, Jung had previously used complex ogive lines to form containers and canopies: RB,pp.48, 50, 51. On the verso of sketch 9, Jung wrote associations from an unrecorded dream, including references to figures The Red Book and astrology; in particular he mentions, "Löwe des Elias, Macht, Löwe mit Skorpion im Mond = Herbstzeichen; laut Analyse nach dem Erscheinen des Sterns“ ("Lion of Elijah, power, lion with scorpion in the moon = autumn sign; according to the analysis after the appearance of the star")

66. The tablet is related to Jung's dream of finding a red tablet with runes on it embedded in his bedroom wall, but not understanding their meaning: Protocols, p.172; thus the dream may predate sketch 15.

69. Tabula smaragdina of Hermes, first quoted by Jung in Psychology of the Unconscious, CW, suppl. vol. B 97. The same idea is expressed in RB, p.34 and Incantations, pp.51-52, 58.

71. Following Augustine, Jung equated knowledge of the self with the first day of creation, which is then succeeded by knowledge of the firmament, earth, sea, plants, stars, animals of water, air and land, and of man himself, concluding with the seventh day of rest, in God, a sequence similar to the unfolding in his remaining mandala sketches. CW 13, 301

79. RB pp.338-39. Shamdasani notes the close relation between The Red Book mandalas and the "experience of the self and the realization of its centrality as depicted in Scrutinies": RB, pp. 225-26, 336, note 17.

The Art of C.G. Jung edited by the Foundation of the Works of C.G. Jung