Category: common

frater440:

Utterly amazing piece by Lupe Vasconcelos.

Abrahadabra is a word that first publicly appeared in The Book of the Law (1904), the central sacred text of Thelema. Its author, Aleister Crowley, described it as “the Word of the Aeon, which signifieth The Great Workaccomplished.“ This is in reference to his belief that the writing of Liber Al vel Legis heralded a new Aeon for mankind that was ruled by the God Ra-Hoor-Khuit. Abrahadabra is, therefore, the “magical formula” of this new age. It is not to be confused with the Word of the Law of the Aeon, which is Thelema, meaning “Will” in ancient Greek.

Gematria

As with most things found in the mystical works of Aleister Crowley, the word “Abrahadabra” can be examined using the qabalistic method of gematria, which is a form of numerology, whereby correspondences are made based on numerical values.

ABRAHADABRA = 418
ABRAHADABRA has 11 letters

ABRAHADABRA = 1+2+2+1+5+1+4+1+2+2+1 = 22

The five letters in the word are: A, the Crown; B, the Wand; D, the Cup; H, the Sword; R, the Rosy Cross; and refer further to Amoun the Father, Thoth His messenger, and Isis, Horus, Osiris, the divine-human triad.
Also 418 = ATh IAV, the Essence of IAO, translated from Hebrew as “Thou art IAO”418= BVLShKIN, or Boleskine418= RA HVVR, or Ra Hoor418= הרו-רא-הא, a Hebrew spelling of Heru-Ra-Ha418= ΑΙϜΑΣΣ, a Greek spelling of Aiwass418= The sum of all integers between 13 and 31 inclusive.Abrahadabra is from Abrasax, Father Sun, which = 365 418 = 22 x 19 Manifestation

In Aramaic this word roughly translates into “I will create as I speak.”

Had is the keyword of Abrahadabra. Had is another name for Hadit, the second Speaker in Liber Legis (“The Book of the Law”).“

ABRAHADABRA is “The key of the rituals” because it expresses the Magical Formulae of uniting various complementary ideas; especially the Five of the Microcosm with the Six of the Macrocosm.“

"Abrahadabra is the glyph of the blending of the 5 and the 6, the Rose and the Cross.”

Taken from the Wikipedia entry and amended.

Frater 440.’.
93 93/93

thirdoffive:

Calendrier Magique

Designed and published in Paris in 1895, the Calendrier Magique was conceived by Austin De Croze and illustrated by the Italian lithographer Manuel Orazi. While the history of these two individuals remains somewhat obscure, even a casual glance at the contents and illustrations of their unusual work shows that De Croze and Orazi possessed a sophisticated familiarity with the Esoteric traditions of the fin de siècle era. Every page of the Calendrier Magique evokes the decadent, occult Paris of Gerard Encausse, Oswald Wirth, and Karl Huysmans. The Art Nouveau illustrations of Orazi are especially evocative. Simon Finch writes that the work “was highly praised by Caillet as ‘fort original et d’une rare exécution artistique’; he added that no contemporary artist – save Félicien Rops – had managed ‘so felicitously to combine sadism, satanism and the macabre’. 
   
The Calendrier Magique – so the legend goes – was published in a limited print run of 777 copies, making it quite a rarity among collectors.

For all 12 months, here: http://www.sofia-albertsson.se/2017/12/stranger-than-kindness-keys-rain-like-heavens-hair/

Source: thirdoffive

littlelimpstiff14u2:

The Extraordinary Mystical and Magical Painting of  Denis Forkas Kostromitin

As the austere Soviet environment had little to offer in terms of
esoteric literature Denis eagerly plunged into the world of Greek and
Egyptian mythology and mysticism. Upon the iron curtain’s collapse in
1991 the great information deluge delivered translations of works by
Levi and Crowley along with anonymous treatises on alchemy and
ceremonial magic, which contained precious bits of insight into matters
like energy management, will, balance and intent. The purgatory of
Russian military service in the mid-nineties had Denis revise his
approach to esotericism and brought him to the gates of Western
philosophy. In the wake of the new century’s economic boom Denis frequently
visited China as a qualified interpreter, a journalist and a commercial
representative. He was lucky to have met several native painting masters
and was eventually granted a chance to study Eastern painting tradition
first hand. Almost three years of heavy practice, which included
mastering gongbi and xieyi techniques, helped Denis determine his true
vocation and inspired him to take on the path of a professional artist.
Before leaving China Forkas developed the principles of his Eglantine
Breath philosophy. The approach – aimed at balancing the Apollonian and
the Dionysian impulses and reviving the ancient spirit of harmony in a
work of art – merged ceremonial magic, meditation and technical prowess
in a single current. Txt

Source: littlelimpstiff14u2