GOLEM GIRL DOLL OF HANS BELLMER

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The Golem of Jewish folklore, is an animated anthropomorphic creature like that of a Dr Frankenstein’s creature.

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A Golem is usually described as being magically created entirely from inanimate matter, you could easily equate with a robot. The earliest stories of Golems date to early Judaism.

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These early tales of Golems are found in the Talmud (Tractate Sanhedrin 38b), where Adam was initially created as a Golem when his dust had been, ‘kneaded into a shapeless husk.’ Like Adam his first wife Lilith was also created as a Golem.

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All Golems are created from mud. This mud is otherwise called the prima materia by the alchemists, which alludes to a symbolic code; but more on this later.

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The most well known story of a Golem introduces us to Judah Loew ben Bezalel, who is a late 16th century rabbi of Prague.

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He is also known as the Maharal, whom reportedly created a Golem to defend the Prague ghetto against anti-Semitic attacks and bloody pogroms meted out by the irate Christian’s.

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Depending on what version of this Golem story you come across, the Jews in Prague were facing expulsion from the ghetto or being exterminated under the tyranny of the then Holy Roman Emperor Rudolf II, who was later copied by the right-wing Christian Nazi’s.

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You could see Maharal as being a previous incarnation of the German artist Hans Bellmer (March 13, 1902 – February 23, 1975) who is best known for the life-sized pubescent female Golems, which he created as his Frankenhooker Mind-Dolls made manifest of Golem sculptures during the mid-1930s.

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Bellmer created his girlish three-dimensional Golems, which he photographed in erotic poses in order to show his repudiation of Fascism and the Nazi aesthetic it propagated; he was certainly out to shock!

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Bellmer’s Golems were purposefully created in order to disturb the politically-correct right-wing-Christian sensibilities at the time, when they were published at his own expense back in 1934.

Bellmer’s work still causes a stir, more so now, but for different reasons, when taken out of context of an Entartete Kunst concentration camp by the politically-correct mind-set of the Gestapo. Other works appeared in the Surrealist journal “Le Minotaure”, ensuring Bellmer’s importance among the Exquisite Corpses of the Parisian Surrealists.

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Historians of art and photography also consider Bellmer to be a Surrealist photographer. Perhaps Maharal was a proto-Surrealist or that of a mind shock Dr Frankenstein?

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Let’s say, both, fused into one singular character of a sorcerer who as a pre-Freudian psychologist knew how to create a viral-meme of a Golem; since, sorcery is art, art is sorcery, which are indivisible of practice; for both practices deal with the manipulation of symbolism, which stirs the subconscious mind of the collective dream.

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Going by the subconscious symbolism of the Golem myth, in order to protect his Jewish community against the racial hatred of the church of Rome, Maharal, like a prior Hans Bellmer, created a most disturbing Golem out of clay, which, it is said, he had derived from the banks of the Vltava river. Maharal didn’t choose the Vltava river just because it was quaintly nearby.

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The Vltava river has a symbolic importance. It turns out that the Vltava river is the longest river in the Czech Republic, running ‘North’ from its ‘source’ near the ‘German border’ in Šumava through Český Krumlov, České Budějovice, and Prague, merging with the Elbe at Mělník.

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Both the Czech name Vltava and the German name Moldau are believed to originate from the old Germanic words wilt ahwa, meaning, wild/strong water. So, the wild/strong waters of the (ley-line) Vltava is rather symbolically apt to utilise for Maharal’s Hans Bellmer doll of a Golem; and what is more, Maharal’s Golem was probably female, which he had secretly created as his Exquisite Corpse of a Frankenhooker in his hidden away loft of a ritual-magic art studio.

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According to legend of the geographic locale in question, a ‘princess called Libuše,’ who was the sovereign of the Czech tribe, married a humble ploughman by the name of Přemysl whom founded the dynasty carrying the same name. “Aha!” A Crow-ley Maharal to say, “what better ‘spirit,’ evoked. To capture into molded clay. Most disturbing, yes, indeed… this, lovely Libuše out of subconscious necropolis to recall, of Hans Bellmer Golem doll girl portayal, whom to thence haunt the Christian… neighbourhood.”

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The legendary princess made many prophecies as a prophetess from her castle Libusin, which was located in central Bohemia, whose land later inspired many a Bohemian artist, such as Hans Bellmer, who would have no doubt sculpted the princess in the likeness of his female cousin to put into his Exquisite Corpse suitcase.

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In one of Libuše’s prophecies, it is said, that she predicted the glory of Prague: “I see a vast city, whose glory will touch the stars! I see a place in the middle of a forest where a steep cliff rises above the Vltava River. There is a man, who is chiselling the threshold (prah) for the house. A castle named Prague (Praha) will be built there. Just as the princes and the dukes stoop in front of a threshold, they will bow to the castle and to the city around it. It will be honoured, favoured with great repute, and praise will be bestowed upon it by the entire world.” Prague has indeed captured the collective focus of many a mind.

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It looks as if Maharal was utilising the locale of the Vltava river because of its mythic importance to the Czech Christian’s, in order to empower his (wild/strong) construct of a Golem, via which he could then ‘remote view’ their malign intentions.

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His Golem, being probably female, would also afflict the shocked Christian’s with strangling nightmares as a bedroom invading Lilith, or to otherwise seduce away from their racialist blood lust by reminding them of their own ancestral self identity, which isn’t and never was Hebrew; for It be rather curious, that the converted Christian European’s and Muslim Arab’s make forever war over the ownership of a Hebrew self identity, personified as a cultural deity, which to a European pagan or Arab, whom still remembers their own ancestral self identity, to rationally observe, of logic, to be utter, insanity.

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The Golem was then brought into existence through arcane rituals and Hebrew incantations. This involves in depth meditation and intense visualisations upon certain symbolic stimuli to thence implant into the subconscious mind, and in turn enabling lucid dreaming.

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The Golem myth however mentions that it was given the (mantra) name of Josef, but more likely that of Yossele. The name Yossele is derived from the Hebrew for Josef, being yōsēf (may he add, God shall add). Wherefore many a mind would commonly point out that Maharal’s Golem was male, without looking any deeper into the matter, whom be blinded by an occult blind, following the blinded.

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The masculine name is borne in the Bible by a favourite son of Jacob and Rachel (GEN. 30), by the husband of the Virgin Mary and foster father of Jesus (MATT. 1).

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You also have Joseph of Arimathea, a rich Jew and secret follower of Jesus, who helped take Jesus’ body from the (solar) cross to prepare it for burial, whom supposedly took the Holy Grail (a female symbol, referring to the womb) to Glastonbury tor (surrounded by a one time inland sea) in Wiltshire, England (JOHN 19).

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It would initially appear of an occult blind that Maharal was creating a Golem of the father of Jesus in order to turn against the Christian’s of a symbolic reversal. However, Maharal’s Golem was very likely that of an alternate magical persona he had assumed of a Yossele Avatar via trance ingress, whereby enabling him to access the dreaming mind of the so called ‘Holy’ Roman Emperor Rudolf II, to thereby torment as Jesus’s father.

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This was further empowered by a conjured up female (Succubus) water sprite (Mary: Star Of The ‘Sea’) of the Vltava river, given form as a clay doll meditation focus.

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It just so happens that the Vltava river has a female association concerning a statue found in Prague, although sculpted in 1916 by the commissioned artist J. V. Pekárek.

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The sculpture is somewhat influenced by pre-Christian Slavic beliefs about female water spirits, of which Maharal was very likely aware, whose pagan existence of ancestral memory terrified the Christian cultists.

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The statue is known as the ‘Charming Stone Girl,’ which is an allegory of the Vltava river. It is one of the most popular statues in Prague historic centre, which has a prominent location.

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The sculpture is situated in the ‘Northern’ end of Dětský ostrov, literally Children’s Island, which is an island on the Vltava river. It lies in the Smíchov district of the city.

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The stone girl of a (Golem) Vltava, is close to the lock chamber standing atop of an 8 metre high pedestal; while her statue is 2.8 m tall, you then have 10.8, which in numerology reduces down to 9 of a Cabbalistic focus upon the 9th sephira of Yesod. Under her (mitochondrial DNA bio-photon) Shekhinah form are plastics depicting four tributaries.

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There is a girl with a (Yod/emotional charge) fish, who is called Sázava, a girl with a (Hey/hypnagogic ingress) bouquet named Lužnice.

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Another girl washing (Vau/nailing a lucid dream) gold is Otava, and finally, a girl with (Hey/hypnapompic egress) cog wheel (symbol of mills and iron mills, also of circular time) is Berounka. The statue is perfectly visible from the Bridge of ‘Legions’ (Most Legií) or from Janácek Waterfront (Janáckovo nábreží).

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Dětský ostrov is mentioned in texts as early as 1355. Until the 18th century, it was called Maltézský Island, after the owner of the Maltese monastery Panny Marie pod řetězem (Church Of Our [Mary/Star Of The Sea] Lady) in the Lesser Quarter.

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Subsequently it was named after members of Prague’s Jewish community who owned the land, such as Hykyšův, Funkovský, and Židovský of a trinity.

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Each year on All Souls’ Day (November 2), members of the association ‘Vltavan’ place a wreath at Vltava’s statue as a memorial to those who have drowned in the river, which of Slavic myth is very much tied up with discarnate females who have become Rusalka, whom live under water, whose aquatic domain symbolises the amniotic (grail/cauldron/back of the head) womb dream.

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It is also said that the Yossele Golem could make itself invisible and summon spirits around a séance table to turn, conjured up of necromancy, from out of the watery dream realm of the dead.

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Now, this is rather intriguing; if Yossele specifically refers to the Golem, then it sounds more like a thought-form, of similarity to what the Tibetan Buddhist’s call a Tulpa, which are conjured up as constructed Goetia spirits with varying functions, whose thought-form constructs can also materially manifest.

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But as mentioned prior, Yossele could actually be Maharal’s remote viewing Avatar, but it would require being empowered by a feminine source, just as an Adam needs a (Priestess Of The Silver Star) Lilith.

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Whereupon Vltava of a fifth element amidst four elemental tributaries was translated into a Golem construct of a Succubus to penetrate via trance, which enabled Maharal to remote view the (Tau-field/Morphogenetic-field/collective dream) spirit of a place.

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Some of the tales, concerning Golems, such as those of Chełm and Prague, as well as in Polish tales, and of a version covered by Brothers Grimm, involves the Golem being inscribed with Hebrew letters.

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These letters spell out the word Emet, ‘truth’ in Hebrew, which is written on the Golem’s forehead.

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The Golem could then be deactivated, when needed, by removing the Aleph in Emet, thus changing the inscription from a ‘truth’ to a ‘death,’ Met, meaning ‘dead.’

But, of course, the idea lives on as a viral-meme, when the idea takes up residence within the brains of individuals; this being more to the point concerning the creation of a haunting Golem, like a neuro-advertising tune, that you can’t get out of your head. Whereupon, the more shocking the idea, the more likely it will take on a mythic (Tulpa) life of its own.

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Other versions of the Golem tale relate that after conjuring an entity into a clay receptacle of a meditation focus, it could be brought to life by placing a magical formula, known as a Shem into its mouth, which could be later immobilized by pulling out the Shem. This technique was also utilised by the ancient Egyptian’s by the way.

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The immobilisation of a Golem could also be brought about by reversing the creative formula. Rabbi Jacob ben Shalom, who arrived at Barcelona from Germany in 1325, to have remarked: “the law of destruction is the reversal of the law of creation.”

Basically, after the thought construct of a (Tulpa) Golem is encountered within a lucid dream it can then be fixated into material form, such as a ‘stone girl’ upon which the sorcerer focuses upon, like that of a Voodoo doll; wherefore you have the motif of a Genie in a lamp/bottle.

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This process of a (Tulpa) Golem creation can be reversed of dispersal, when to return back to the source. Or to otherwise transform a symbolic stimulus into another form of expression, by reversing its meaning.

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The spirit repository of a statue is often broken so that it cannot be used by others, as well as its viral-meme influence being dispelled; likened to that of the sacred swastika of the Hindu’s, to break apart, by transforming it into a hated Nazi icon.

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Back in 1625 Joseph Delmedigo relates that: “many legends of this sort are current, particularly in Germany.”

These German folktales invariably led to Mary Shelley creating her Germanic Golem of a Fankenstein, whom may have come across the earliest known written account of how to create a Golem, which can be found in Sodei Razayya by Eleazar ben Judah of Worms (1165–1230).

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The myth of the Olympia mechanical doll of a Golem, and Shelley’s Frankenstein has very much influenced the artificial intelligence movement.

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Now, let us look at the Hebrew word for ‘truth,’ being Emet, which contains the first: Al-ef, middle: Nun, and the last letter of the Hebrew alphabet: Tav, indicating that the ultimate ‘truth’ is associated with, birth/beginning, your present life/existence and death/end.

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Basically, Emet is associated with the process of ‘time,’ in particular, of an ‘abstract,’ which is inextricably linked to ‘space,’ as in space-time. However, ‘time’ is usually perceived to be linear by our nervous-systems, which Albert Einstein to have stressed is an illusion.

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Time is actually happening simultaneously, because it is looped, since space is a sphere. What you then have is a sphere of time, which in two dimensions is described by an abstract circle, the ancients symbolised as a snake eating its own tail, called an Ouroboros encircling an egg representing space.

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The Ouroboros is also depicted as a Lemniscate, or that of a Moebius strip, which indicates that your existence endlessly repeats of Eternal Recurrence.

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In the Tarot, Al-ef/Aleph is the Fool: 0, Nun is Death: 13 and Tav/Tau is the World/Universe: 21. Al-ef (Fool) of a ‘0’ is your return (birth) back to a recurring cycle.

But you have forgotten what you have already experienced many times; hence that of a clean slate, driven, on automatic. Like that of a body, without a head.

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The problem, is that you will end up repeating everything, like that of a pre-programmed (Golem) automaton, until you remember certain key memories, which will be initially experienced as déjà vu, and as precognitions. These trigger memories tend to be associated with emotionally charged sexual encounters; whence you have the motif of soul-mates.

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But it will not be a case of remembering past-lives or seeing into the future, such a perspective is (foolishly) linear of a ‘fence;’ it will be more of a case that you are remembering the endless Ouroboros cycles of Eternal Recurrence; yet your initial realisation of this, will be that of an abstraction.

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When you start to remember, to slowly conceptualise, your conscious mind will often not be able to handle the full impact of its experiential reality.

Whereupon you either quickly forget, or your subconscious mind otherwise transforms your awakening into symbolic conceptualisations, which is most often interpreted as being past lives or as precognitions.

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An analogy would be that a programmed (Golem) robot starts to become sentient; but only when it remembers of Knowledge, otherwise it stays as a blissfully ignorant programmed (Golem) robot in its repetitive Eden.

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The middle letter of Nun (Death) equates with the head of the snake eating its own tail, where you are both alive and dead simultaneously, as indicated by Schröedinger’s cat experiment.

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This can be personally experienced when you achieve (split screen) hypnagogic trance, where you are between (Land/Life) waking and (Water/Death) sleeping, wherefore the letter Nun means, ‘fish,’ describing (Mud/prima materia) an ‘amphibious’ state of consciousness. The hypnagogic (Mud) state is analogous to a (Golem) robot being able to hack into its own (Land) programming via the virtual reality of its (Watery) electron dreams.

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Tav (World), it is here that you realise that your experiential reality is an illusion, which can be otherwise termed as being a ‘simulated reality,’ the Hindu’s call (Mother/Vesica Pisces/Vagina) Maya. An analogy would be that of an artificial intelligence (Golem) existing in a video game reality becoming aware of the (Emet) ‘truth’ of its simulated existence.

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When you become aware of your simulated existence at ‘Tav,’ you also become aware that you can create (Tulpa/Golem) simulations when to access the (amphibious) hypnagogic (Mud) state out of which (Tulpa) thought-forms (Golems) can be created. These (Tulpa) thought-forms (Golems) can manifest into material existence over time.

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The initial embryonic existence of a Golem is within your amniotic (Watery) electron dreams, which after being (Land) programmed, is then activated via (Mud) hypnagogic (amphibious) trance. The Golem then starts to become more substantial, inducing pre-programmed (microcosmic) lucid dreams, which are illuminated by the bio-photon emanating from amidst your mitochondrial DNA.

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This leads to concordant (macrocosmic) synchronistic feed-back-loops as well as instigating poltergeist phenomena and even physically manifesting at certain key-times as a ghost. Wherefore a Maharal can create a (Golem/Tulpa) ghost girl to (Skinwalker) haunt the (Tau/Morphogenetic field) locale of his antagonists, whose physical spirit repository would be that of ‘Charming Stone Girl.’ Like that of a ‘Wild/Strong’ Rusalka genie, being conjured out of a bottle as an Entartete Kunst Wilt-Ahwa Valkyrie, furiously riding an Ouroboros cycle of a cog wheel gold bicycle, holding onto a bouquet basket of fish. As mentioned prior, shocking ideas (Bellmer’s Doll/Golem) take on a Tulpa life of their own, which to thence spin the electron dreams of the collective, because they are empowered by the (prima materia) emotional charge of the shocked audience.

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