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Chuuni Interest Check
I would LOVE to know if anyone would be interested in a series of posts with outfit inspirations?
This would, of course, be very inclusive for any chuuni who wants to dress masc, fem, or androgynous~!
This would probably include extensive tagging (and a masterlist eventually) for presentation (masc/fem/andro), style (casual/battle/corporate/etc), and culture/subculture (goth/lolita/grunge/colours (red/orange/yellow/green/blue/pink/purple/black/brown/white)/etc)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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“According to the doctrine of the inexorable astral influence upon human destiny which flourished in Late Antiquity, the seven heavenly spheres were initially associated with Fate and corporeal passions, since, before entering the body, the soul acquired qualities linked to each planet. These qualities would later be experienced in a distorted manner because of the corporeal condition of the human being. This process of the planets conveying and imposing Fate upon mortals is described in several Hermetic texts. In the Poimandres, divinization is preceded by the ascent through the heavenly spheres, which entails the removal of vices corresponding to each of the seven planets.
[…] in Late Antiquity, the seven heavenly spheres represented the first seven rungs of the celestial ladder by which the souls descend and ascend, along with their vehicles, before and after generation. The Hermetic teachings stress that the vehicles emanating from the descent through the heavenly spheres are inclined to receive the planetary energies in a distorted manner because of their intermingling with the four elements; therefore, the vehicles would have to be purified by the grace of Nous before any attempt of ascent.”
— Akindynos Kaniamos; “Hermetic Rebirth through the Heavenly Spheres in CH XIII” (2023)
Zodiac Constellations Series. Aquarius Ruled by Uranus ⛢
Moe anthropomorphism of Moon
Today we're celebrating the eclipse with diagrams from several manuscripts from the Schoenberg Collection! They range from the 13th to the 16th centuries, and include texts in Latin, Hebrew, Arabic, and Persian. You'll see, however, that the diagrams in the different books are quite similar to each other!
To watch the complete 30-minute video, go to YouTube:
Coffee With A Codex is an informal lunch or coffee time to meet virtually with Kislak curators and talk about one of the manuscripts from Pe
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
A traveller puts his head under the edge of the firmament
The image depicts a man crawling under the edge of the sky, depicted as if it were a solid hemisphere, to look at the mysterious Empyrean beyond. The caption underneath the engraving (not shown here) translates to "A medieval missionary tells that he has found the point where Heaven and Earth meet..."
The Flammarion engraving is a wood engraving by an unknown artist, so named because its first documented appearance is in Camille Flammarion's 1888 book L'atmosphère : météorologie populaire ("The Atmosphere: Popular Meteorology"). It has been used as a metaphorical illustration of either the scientific or the mystical quests for knowledge.
The print depicts a man, clothed in a long robe and carrying a staff, who is at the edge of the Earth, where it meets the sky. He kneels down and passes his head, shoulders, and right arm through the star-studded sky, discovering a marvellous realm of circling clouds, fires and suns beyond the heavens. One of the elements of the cosmic machinery bears a strong resemblance to traditional pictorial representations of the "wheel in the middle of a wheel" described in the visions of the Hebrew prophet Ezekiel. The caption that accompanies the engraving in Flammarion's book reads: A missionary of the Middle Ages tells that he had found the point where the Sky and the Earth touch...
In Flammarion's L'atmosphère: météorologie populaire, the image refers to the text on the facing page (p. 162), which also clarifies the author's intent in using it as an illustration:
Whether the sky be clear or cloudy, it always seems to us to have the shape of an elliptic arch; far from having the form of a circular arch, it always seems flattened and depressed above our heads, and gradually to become farther removed toward the horizon. Our ancestors imagined that this blue vault was really what the eye would lead them to believe it to be; but, as Voltaire remarks, this is about as reasonable as if a silk-worm took his web for the limits of the universe. The Greek astronomers represented it as formed of a solid crystal substance; and so recently as Copernicus, a large number of astronomers thought it was as solid as plate-glass. The Latin poets placed the divinities of Olympus and the stately mythological court upon this vault, above the planets and the fixed stars. Previous to the knowledge that the earth was moving in space, and that space is everywhere, theologians had installed the Trinity in the empyrean, the glorified body of Jesus, that of the Virgin Mary, the angelic hierarchy, the saints, and all the heavenly host.... A naïve missionary of the Middle Ages even tells us that, in one of his voyages in search of the terrestrial paradise, he reached the horizon where the earth and the heavens met, and that he discovered a certain point where they were not joined together, and where, by stooping his shoulders, he passed under the roof of the heavens...
The angel Ruh holding the celestial spheres.
This illustrated page originally belonged to a manuscript of The Wonders of Creation and the Oddities of Existence (Arabic: ‘Aja’ib al-makhluqat wa-ghara’ib al-mawjudat), a treatise on the marvels of the universe written by cosmographer and geographer Zakariya ibn Muhammad al-Qazwini (1203–1283).
The style of the folio depicting the angel Ruh suggests that it was produced in western Iran during the second half of the 1500s. Material and technique: ink, colour, and gold on paper
Widely copied and illustrated across the Islamic world, The Wonders of Creation consists of two main parts. The first part deals with the heavenly spheres, and discusses angels, constellations, planets, and different calendars. The second part, devoted to the earthly realm, describes the four elements, minerals, plants, living beings – including humans – spirits, and extraordinary creatures such as giants.
