Myriam Gibril as the goddess Isis, in Lucifer Rising [1972]
Egyptian gods summon the angel Lucifer, in order to usher in a new occult age.
cherry valley forever
Keni
Show & Tell
Monterey Bay Aquarium
occasionally subtle
Acquired Stardust
PUT YOUR BEARD IN MY MOUTH

Andulka
Peter Solarz

Stranger Things
"I'm Dorothy Gale from Kansas"
Claire Keane
TVSTRANGERTHINGS
AnasAbdin
taylor price
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@chthonicvenus
Myriam Gibril as the goddess Isis, in Lucifer Rising [1972]
Egyptian gods summon the angel Lucifer, in order to usher in a new occult age.

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"Let those who walk the Spiral know: Golgotha is not a hill -it is the apex of the Inner Labyrinth, the sanctified skull-vault where Spirit is affixed to the Cross of Matter.
Within the cranium-terra sancta of the Adept-the rite unfolds.
The Place of the Skull is the chosen summit where the Logos, veiled as Man, is fixed to the Quadrature-four elements bound upon the Fifth.
The Cross is the Arcane Compass.
The Skull, the Temple.
Christ is not a man but a Fire.
A Ray of the Solar Word.
The Rose of the Depths.
He descends not to suffer, but to anchor-to seed gnosis within the marrow of Matter.
His Passion is the alchemical agony: the dissolution of Lead into Light, the shattering of the egoic shell so the Tipheretic Flame may arise.
The blood that flows is not crimson-it is golden. It descends the spinal staff, anointing each gate, until the Crown is pierced, and the Skull sings.
Golgotha is here, within your own vault of bone. When the initiate climbs the Mount and lays down the "me," the "I AM" is enthroned.
Thus, the Resurrection is not an event-but a procession. A reconstitution of consciousness beyond form. The stone rolls when the Word speaks within.
Silence guards this. Symbols conceal it.
Only the Rose unveils." 🌹
Thomas Moran - "Fingal’s Cave, Island of Staffa, Scotland" (1884)
Ego Tomb

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Adolf Fassbender (1884-1980 German) • Swan
Kali with baby Shiva, bengali painting
Kali makes it all worthwhile. Not because she is gentle, but because she is true. She doesn’t soothe with false promises or keep illusions intact for the sake of comfort. She rips open the heart, devours every lie, cuts away what binds, and in doing so, reveals what was always free. She does not pretend that life is meant to be soft—she knows that awakening comes through fire, not through whispering lullabies. But Kali is not just the fierce one, the devourer of time. She is also the most loving Mother, the one who holds those who have nothing left to lose but the truth itself. She does not coddle, but she recognizes—and to be recognized by Kali is to be known at the deepest level. She has no patience for pretense, but for those who have given their hearts entirely, she is pure grace. To love Kali is to accept that destruction is not the end—it is the clearing, the opening, the naked recognition of what was always whole. She strips away what is not you, not to harm, but to free. And in that space beyond fear, beyond self-construction, beyond time itself—she is waiting. Not distant. Not unknowable. But closer than breath. And once you have known her, once you have stood in that gaze with nothing left to hide—what else could ever be worth more? (Kali/Vajrayogini)
Calcutta Art Studio, Kali/Tara, 1885-1890, Chromolithographic print on paper, West Bengal, India
Items in an English ruin, 1964
Terence Spencer

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“Every word has consequences, every silence too.”
— Jean-Paul Sartre
Julius Evola Eros and the Mysteries of Love
Art: Raoul Auger
🦂
Julius Evola: Eros and the Mysteries of Love

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Lionello Balestrieri - "The Kiss"
Abner’s Messenger before David; The Queen of Sheba Bringing Gifts to Solomon; The Annunciation. ca. 1480. Credit line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 https://www.metmuseum.org/art/collection/search/437028