Unurthed

Speaking of eyes and wings, a talismanic scroll presented in Mercier’s 1979 Ethiopian Magic Scrolls.

“The central design, a face within an eight-pointed star, is the most common and most characteristic motif in Ethiopian scrolls. The face is known as gätsä säb’e (‘face of a person’). It is the face connected with the prayer that goes with the talisman, and its presence is necessary for the effectiveness of the scroll. Thus defined, the face has a sort of ‘local’ identity. A generic meaning can also be attributed to it, interpretable with help of the accompanying prayer: the face of God, an angel, a demon, a man, and so on.

“The eight points indicate the four directions of the talisman’s protective power: ‘Whoever comes from the East, etc…’. In relation to the face in the center, they are luminous radiance or the wings that enable it to move in all directions. One dabtara has said that each of the eight wings is an angel serving the central face. He is referring implicitly to a passage from the Apocrypha of Clement (or Qälémentos): ‘The family of angels is numerous. They have no single aspect. Indeed, there are some who have many eyes; some who are only eyes; some who are a burst of light brighter than the light of the sun; some who have faces like a man’s face; some who have two wings; some who have one wing; some who are two wings; some who are all one wing’. Therefore, in a picture like this, eyes, face, and wings can all be angels” (p9).

A drawing by Frederick Franck from his 1973 The Zen of Seeing.

“The purpose of ‘looking’ is to survive, to cope, to manipulate, to discern what is useful, agreeable, or threatening to the Me, what enhances or what diminishes the Me…

“When, on the other hand, I SEE — suddenly I am all eyes, I forget this Me, am liberated from it and dive into the reality of what confronts me, become part of it, participate in it…

“It is in order to really SEE, to SEE ever deeper, ever more intensely, hence to be fully aware and alive, that I draw what the Chinese call ‘The Ten Thousand Things’ around me. Drawing is the discipline by which I constantly rediscover the world” (p5-6).

“Zen raises the ordinariness of The Ten Thousand Things to sacredness and it debunks much that we consider sacrosanct as being ordinary. What we consider supernatural becomes natural, while that which we have always seen as so natural reveals how wondrously supernatural it is” (p112).

“Where there is revelation, explanation becomes superfluous. Curiosity is dissolved in wonder” (p28).

“SEEING/DRAWING is, beyond words and beyond silence, the artist’s response to being alive. Insofar as it has anything to transmit, it transmits a quality of awareness” (p120).

A 1966 drawing by Szukalski of a never-done monument, reproduced in Struggle: The Art of Szukalski (also see previous posts).

Monument to Jules Stein Eye Institute, 1966. Click for larger version.

“Ever since the eye hospital was built in Westwood, California, I have wished to make a monument to its donor, Jules Stein. Not knowing his face, I placed the portrait of a stranger in its place in my drawing of the project.

“He is eagerly stepping forward from his prayerful kneeling position to magically touch the blind child’s eyes so that it may see. To see his wonderful world will be the most glorious of it’s experiences, for, like any child, it is but a foreigner…

“Please note the peacock feathers that make up the pedestal to this monument. It has two kinds of eyes; the ones that see and the ones that have no eyeballs. Instead of Wings of Inspiration, I gave the donor of this superb hospital the Eyes of Inspiration” (p109).

On the eye-wings is an inscription that reads:

To see,
To perceive,
To foresee,
To conceive,
So to create
More light.

Four drawings of modrons, first appearing in the AD&D Monster Manual II (1983). Modrons are geometrically-derived creatures that embody an order irrespective of morality.

Monodrone (p87).

“The Plane of Nirvana is a plane of balance and absolute order [lawful neutral]. It is equally hot and cold, equally light and dark, and made of equal parts of solid and liquid. The chief inhbitants of this plane are known as modrons and live in a rigid caste system under the absolute rule of Primus the One.

“Nirvana is laid out like a great wheel with the Tower of Primus at the hub. The wheel is infinitely wide but divided into 64 sectors, each sector with its own governor. Four sectors become a region, maintained by its ruler, and 4 regions are ruled by a viceroy as a single quarter. The 4 quarters are ruled by Primus. Access to this great wheel is possible by astral means or by portals that connect to Arcadia, Archeron, and the Plane of Concordant Opposition, but the locations of these portals change as the wheel revolves around the Tower of Primus.

“In modrons’ society all beings are classified, all actions regulated, and all procedures deliniated. Obedience to the laws is immediate and unquestioned. The society is separated into the base modrons who are the largest in number and act as the servant class, and the hierarch modrons, who are the leaders, enforcers, and governors” (p86).

The modronic castes are based on mathematical progressions: the base modrons (with their populations given in parenthesis) include monodrones (300+ million), duodrones (55+ million), tridrones (6+ million), quadrones (1.5+ million), and pentadrones (500,000+); the hierarch modrons include decatons (100), nonatons (81), octons (64), septons (49), hextons (36), quintons (25), quartons (16), tertians (9), secundi (4), and Primus (1).

Tridrone (p88).

“Modrons are not affected by any illusions or magic that affects the mind (beguilement, charm, domination, hold, hypnosis, and sleep are examples). Fear and other emotion spells have no effect, and the modrons are unaffected by attacks based in the Positive or Negative Planes (including life-draining or life-stealing)” (p86).

Nonaton (p89).

The perceptual abilities of modrons increase according to their rank in the hierarchy.  For example, a monodrones’ senses are less than humans’ and tridrones’ senses equal to humans’, whereas septons, in addition to hearing, sight, smell, taste, and touch, have the two additional senses of ESP (with 30-foot range) and detect magic.  The Primus itself can communicate telepathically and immediately with any creature in Nirvana.

Primus, The one and the Prime (p91).

“Primus is a huge being who rises from the energy pool in the central part of his great tower at the center of the plane, although the Prime One may also appear as a normal human. In giant-form, Primus’ hands are unseen, the right swathed in rainbow-bright lights, the left clouded in inky darkness. Those creatures struck by the light-hand must save vs. spells or be teleported to Arcadia [tending good]; those struck by the left must save or be sent to Acheron [tending evil]” (p91).

A painting by André Enard appearing in An Art of Our Own by Roger Lipsey.

Number 27, 1975, oil and goldleaf on wood (black-and-white reproduction).

“What are we looking at? A geometry that recalls both the Platonic ‘perfect figures’ and Tantric designs, the image of the labyrinth rendered as a looping intestinal pattern, gestational images of seed and egg — drawn into a whole by craftsmanship that brings to mind the skills of jeweler and icon-maker” (Lipsey, p414).

Enard writes, in a 1987 letter to the author, “Most manifestations of art today lack good common sense, lack relation with a higher reality, and lack spiritual purpose.

“What can there be of value without a search into oneself, linked to essential knowledge?

“Isn’t the ultimate desire of human beings to perceive an order of laws that surpasses us yet is also within us, and to participate in that order?

“Isn’t the role of the artist to reflect on and to reflect back something of this greater order, for the sake of stimulating the viewer to reconstruct the original idea?

“Isn’t this quest the purpose, conscious or unconscious, of all artistic effort?

“To try to grasp the soul, that which animates each thing at its source!

“Finally, what seems most important in the process of painting is the quality of feeling that the artist conveys by doing what he does, no matter what subject he chooses; and then, the care he takes and the quality of attention he communicates, which may arouse the same quality in the viewer.

“When that quality of energy is there, it can be felt — it is palpable, visible in the canvas. It has an action; one is touched, and one can glimpse the reality behind appearances.

“The act of painting can be understood as an act of contemplation, of meditation, through which the artist can rediscover and remember what is laid down in his deepest nature, his primal consciousness — and by that very means summon the same in response from the viewer” (p415-6).

Four images from Mookerjee’s The Tantric Way (see also these yantras).

“Tantra is a creative mystery which impels us to transmute our actions more and more into inner awareness: not by ceasing to act but by transforming our acts into creative evolution. Tantra provides a synthesis between spirit and matter to enable man to achieve his fullest spiritual and material potential. Renunciation, detachment and asceticism — by which one may free oneself from the bondage of existence and thereby recall one’s original identity with the source of the universe — are not the way of tantra. Indeed, tantra is the opposite: not a withdrawal from life, but the fullest possible acceptance of our desires, feelings, and situations as human beings.

“Tantra has healed the dichotomy that exists between the physical world and its inner reality, for the spiritual, to a tantrika, is not in conflict with the organic but rather its fulfillment. His aim is not the discovery of the unknown but the realization of the known, for ‘What is here, is everywhere. What is not here, is nowhere’ (Visvasara Tantra); the result is an experience which is even more real than the experience of the objective world” (p9).

Gunas: sattva, rajas, tamas (p95).

Tantra art “is specially intended to convey a knowledge evoking a higher level of perception, and taps dormant sources of our awareness. This form of expression is not pursued like detached speculation to achieve aesthetic delight, but has a deeper meaning. Apart from aesthetic value, its real significance lies in its content, the meaning it conveys, the philosophy of life it unravels, the world-view it represents. In this sense tantra art is visual metaphysics” (p41).

Shyama (Kali) Yantra. Rajasthan, 18th century (p35).

Yantra “represents an energy pattern whose force increases in proportion to the abstraction and precision of the diagram. Through these power-diagrams creation and control of ideas are said to be possible” (p34).

The Principle of Fire. Rajasthan, 18th century (p189).

“Tantric images have a meditative resilience expressed mostly in abstract signs and symbols. Vision and contemplation serve as a basis for the creation of free abstract structures surpassing schematic intention. A geometrical configuration such as a triangle representing Prakriti or female energy, for example, is neither a reproduced image nor a confused blur of distortion but a primal root-form representing the governing principle of life in abstract imagery as a sign” (p44).

Salagram, a cosmic spheroid (p13).

Two diagrams from Ride the Tiger to the Mountain, a taijiquan instruction manual by Martin and Emily Lee.

The first “figure shows the dynamic of yin-yang balance. The right side of the diamond follows the yang elements of T’ai Chi. The left side follows the yin elements” (p34).

The second “figure illustrates the T’ai Chi fitness system” (p169).

A painting by S. H. Raza, reproduced in Michel Imbert’s Raza: An Introduction to his Painting.

Prakriti, 1999. Click for larger version.

“This canvas, composed of twenty-five squares, contains in each of them an image suggesting the essence of the elements present in nature [i.e., prakriti]… The following is a schematic explanation of the canvas” (p63):

Row 1: The Sun / Surge of Energy / Sunfilled Sky / The 5 Elements / Polarity
Row 2: The 5 Elements / Nature / Tree with Blue Fruits / Woman’s Buttocks / The Sea
Row 3: Meeting of Male & Female Energies / Male + Female Elements / Bindu of Five Elements / Female Elements / Hill, Tree and Sea
Row 4: The Encounter / Male + Female Elements / Female Sex with 2 Bindus / Female Elements / Title of Canvas in Hindi: Female Element
Row 5: The Space / Male/Female Polarity / The Earth / Male Element (Linga standing) / The Time

Raza on his perception of nature:

“Forms emerge from darkness. Their presence is perceptible in obscurity. They become relevant if their energy is oriented through vision into an alive form-orchestration for which certain prerequisites are indispensable.

“The process is akin to germination. The obscure black space is charged with latent forces asking for fulfillment. Like the universal natural order of the ‘earth-seed’ relationship, the original unit, ‘Bindu’, emerges and unfolds itself in the black space. All inherent forces unite. A vertical line intersects a horizontal line, engendering energy and light. Space is charged. Contours appear: white, yellow, red and blue, and along with the original black, they compose the colour spectrum of the visible world.

“The mysteries of form reveal themselves through light colour space perceptions. In a visible energy spectacle, certain fundamental elements are intricately interrelated and determine the nature of form. Their understanding is indispensable in any creative process. Whatever the direction art expression may take, the language of form imposes its own inner logic and reveals infinite variations and mutations. The mind can only partially perceive these mysteries. The highest perception is of an intuitive order, where all human faculties participate, including the intelligence, that is ultimately a minor participant in the creative process. This stage is total bliss and defies analysis” (p66/8).

Five paintings from the Pneumo-Cosmic Manuscript, an enigmatic sequence of 52 such alchemical illustrations. Neither the author nor the date of the work are known (although the paper establishes a terminus a quo of mid to late 18th century), and no explanatory text is provided beyond a brief introductory paragraph (see below). The present edition was reproduced from a manuscript in Glasgow University’s Ferguson collection and hand-bound by Adam McLean.

“A work of natural magic, fashioned with an admirable brush of pneumo-cosmic nature. The characteristics of the universal prototype of Chaos, through the artful ape of Nature, have been represented to itself in many images, and preserved to eternity the memory of this matter” (title page, from the Latin).

V.

XX.

XXV.

XLIX.

XLVII.

John Dee‘s Monas Hieroglyphica, which I have redrawn, from his 1564 book of the same title, translated from the Latin by C. H. Josten (in Ambix vol. XII, nos. 2 & 3, 1964).

“The Sun and the Moon of this monad desire their elements, in which the denarian proportion will be strong, to be separated, and that this be done with the aid of Fire” (p161).

Constructed with the geometric proportions detailed in Theorem XXIII (p201-205).

“Our hieroglyphic monad possesses, hidden away in its innermost centre, a terrestrial body. It [sc. the monad] teaches without words, by what divine force that [terrestrial body] should be actuated. When it has been actuated, it [sc. the terrestrial centre of the monad] is to be united (in a perpetual marriage) to a generative influence which is lunar and solar, even if previously, in heaven or elsewhere, they [sc. the lunar and solar influences] were widely separated from that [terrestrial] body [at the centre of the monad]. When this Gamaaea has (by God’s will) been concluded… the monad can no longer be fed or watered on its native soil, until the fourth, great, and truly metaphysical, revolution be completed. When that advance has been made, he who fed [the monad] will first himself go away into a metamorphosis and will afterwards very rarely be held by mortal eye” (p135-137).