Alchemy: The Art of Tranformation

By Paracelsus (The Swiss Hermes) – Let it be for you a great and high mystery in the light of nature Alchemy manthat a thing can completely lose and forfeit its form and shape, only to arise subsequently out of nothing and become something whose potency and virtue is far nobler than what it was in the beginning.

Nothing has been created as ultima materia–in its final state. Everything is first created in its prima materia–its original stuff; whereupon Vulcan [or transmuting fire] comes, and by the art of alchemy develops it in its final substance. . . . (more…)

Modern Pyramid Invention to Heal and Relax People

Here are some images of an ultra cool modern invention of an energy and healing pyramid that reminds me of the Egyptian Pyramids. It was invented by some genius named Beciu Niculina. I assume he modeled it after the Egyptian Pyramids. The inventor says it can be used for body relaxation, meant to be used as therapeutical means in the field of complementary and alternative therapies. (more…)

What is here is elsewhere, what is not here is nowhere

What is here is elsewhere, what is not here is nowhere. There is nowhere to get to, it is all here now. These famous quotes are from the Mahabharata which is the great epic of India, comprised of 100,000 verses.

“Some quotations include “Any brahman knowing the four Vedas, including the sciences based upon them and the Upanishads, but does not know ‘this tale’ (the Mahabharata) would not be considered a truly wise man; the Mahabharata is for all practical purposes considered the fifth Veda.

No story is found on earth which does not depend on this tale… What is here is elsewhere, what is not here is nowhere.”

Symbols - What is here is elsewhere, what is not here is nowhere


The work recounts the events before, during and after the great battle for kingship waged at Kuruksetta between the Pandavas and Kauravas branches of the Kuru lineage of descendants of Bharata (whence is derived the Sanskrit meaning of the Mahabharata, “the great [tale of] Bharata’s descendants”). Also the epic contains didactic material of encyclopedic proportion (particularly in books 12 and 13, the Santi- and Anusasana- puranas), along with elaborate genealogies and much myth and legend (especially in books 1 and 3).

The sage, or seer, Vyasa (Krishna Dvanpayana), is thought to have composed the epic and taught it to his student Vaisampayana who in turn performed the first recitation of the work at a snake sacrifice” conducted by King Janamejaya; the purpose was to inform the king of the deeds of his ancestors. Then the epic was carried by the bard Ugrasravas to the forest sacrifice of the brahman Saunaka.

Actually, the Mahabharata in its present form was composed over a long period of time, c. 400 BC to 400 AD. Over this time period various groups influence its development, which is still reflected. They were warriors and their bards, brahmans, and devotees. The action of the Mahabharata simultaneously proceeds on several levels. First is the typically Indo-European heroic tale of the battle of good against evil, modeled after the specifically Indo-Aryan version of the theme, the devas (gods, here incarnate in the Pandavas) against the asuras (demons, reflected in the Kauravas, who incarnate raksasses). From this point of view, the Kuruksetta war is visualized as a gigantic sacrifice conducted by semi-divine epic heroes. Mixed with this semi-mythical material is consideration of the human-centered issue of the decline of dharma at the onset of Kali-yuga, the present degenerate age of history, which the Mahabharata conceives as having begun at the time of the Kuruksetta war. Dharma suffered a huge setback at the Pandava-Kaurava dice game played early in the epic. From then on, the lines of right and wrong were drawn less clearly than the Indo-European substructure of the epic might cause one to expect, for example the “good” Pandavas defeat the “evil” Kauravas, but only by trickery and deceit. One high point of human uncertainty in the work is the episode of the Bhagavad-Grita, in which the Pandava hero Arjuna casts down his weapon before the war begins, dismayed at the prospect of having to fight against his relatives and elders on the other side. In the Bhagavad-Grita and throughout the Mahabharata, it is a “Hindu” element, revolving particularly around the character of the god Vishnu, incarnate as Krishna, and his alliance with the Pandavas, which resolves the tension. “Where Krishna is there is dharma…there is victory.” Orchestrated by Krishna, the Kuruksetta war is a cosmic event. Through its emphasis on Krishna, theMahabharata becomes the locus of a bhakti (devotional) synthesis, which characterizes Hinduism from this time onward. The stage production of Peter Brook (1985) was filmed in 1989. A.G.H.


Bowker, John, The Oxford Dictionary of World Religions, New York, Oxford University Press, 1997, pp. 598-599

God is Father, Intellect and Fire

Fatherly power in God — God is frequently referred to in the Chaldean Oracles of Zoroaster as fire_spirit_phoenix_by_orionca-d2sain3
Father, intellect, and Fire, but there is no explicit mention of the son of God.

Some of the titles given to God in translation in the Oracles are; “Mind of the Father”, “Paternal Father,”  ‘Paternal Intellect,” “Paternal Principle,” Father of Gods and Men,” “Paternal Fountain,” brilliant fire, and the ‘animating of all things.” (more…)

The 72 Names of God

This rare Gnostic image below shows the name of God in seventy-two languages from Athanasius Kircher’s OEdipus AEgyptiacus which is his Great Work Egyptology. After his studies and many years of research he concluded “that I am fully persuaded that either the Egyptians were Hebraicizing or the Hebrews were Egypticizing.”

Inscribed upon the petals of a symbolic sunflower are the 72 names of God that in Hebrew is called “Shemhamphorasch (alternatively Shem ha-Mephorash or Schemhamphoras, originally Shem HaMephorash (שם המפורש)).” The “72-fold name” is highly important to Sefer Raziel, and a key (but often missing) component to the magical practices in The Lesser Key of Solomon.


The Freemason Handshake

A secret Masonic hand clasp, handshake or handgrip is used between two Freemasons in order to recognize Symbols - masonic_handshakethat they are Brothers of the same Order. This is how they simply identify who is a Mason and who is not.

Even the type of grip they hold can identify which Masons are of the lower degrees and higher degrees by testing his handshake. It is a universal sign of unity and an important Bro’ mode of recognition.

The facts are that if you want to get anywhere into the true power centers of the upper echelons of this world, you will have to know these Masonic secret handshakes and earn your degrees.  (more…)

Leonardo da Vinci’s Geometric Sketches

Leonardo da Vinci briefly studied geometry with Franciscan friar, Luca Pacioli (ca. 1445-1509) who is best known for his compendium of fifteenth century mathematics, Summa de arithmetica, geometrica, proportioni et proportionalita (1494).

Being an artist, Da Vinci had chosen to focus mainly on the shape, size, and descriptive features of objects specifically, those illustrating the sphere, cone, cylinder, pyramid, and the five Platonic solids rather than their theoretical foundations. He created sixty plates geometric sketches for the work of Leonardo da Vinci’s Geometric Sketches (Divina proportione).

The following images are facsimiles of several of these plates. (more…)

Pontanus – The Secret Fire

The Epistle on the Philosphic Fire From the 16th century Ms. 19,969 in the Bibilothèque Nationale.Fire man

I, John Pontanus, who have travelled into various realms and domains on my quest to know of a certainty what is the Philosophers’ Stone, journeying through all parts of the world, found but false Philosophers and deceivers. Studying still, none the less, in the books of the Wise, and my doubts increasing, I discovered the truth: and yet, notwithstanding I had knowledge of the material, I erred two hundred times before finding the operation and practice of that true material. (more…)

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