Archive for Buddhist

THE DEVIL GIRL OF DOCTOR FAUST

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 17, 2016 by FAUSTUS CROW

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The above watercolour painting is provisionally entitled: Mephistophina. The artwork is A4 in size, which was initially drawn in Derwent and Caran Da’che watercolour pencils on 300g/m Aquafine watercolour paper, then painted, involving some burnishing.

The original Artwork is presently on Sale, on Saatchi Art; if you are interested, Please Click Here. 

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The artwork depicts a female version of Mephistopheles, who is commonly considered to be a name of a male spirit in the Faustian legend, who in return for his assistance, Faust signs away his soul as depicted in Marlowe’s and Goethe’s grandiose Church plays. The origin of the conception and name of Mephistopheles has been the subject of much learned debate among numerous scholars down the ages, whose all male pantheon of a deified ‘Animus.’ has entirely negated the feminine principle of the ‘Anima,’ yet none to really question, why?

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As of per usual commonality in the numerous Playgirl Grimoires frequenting many a Hogwarts bookshop, you will find in Dr Faust’s Höllenzwang that (Mephistopheles) Mephistophiel is considered to be one of the seven great phallic princes of hell, who is seen standing under the planet Jupiter. The regent of the planet Jupiter is called Zadkiel, an enthroned machismo angel of the deified ‘Animus,’ made as an all-father-fixation God, named Jehovah.

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The artwork is loosely based upon an illustration of Mephistopheles, as found in the Grimoire, entitled the, Threefold Coercion of Hell; also called, Cabalae nigrae, or the Magia naturalis et innaturalis as well as the Black Raven, which is said to have been authored by Doktor Johannes Faust.

The Grimoire illustration is listed as being plate 10 in the Threefold Coercion Of Hell, which depicts the first appearance of Mephistopheles, manifesting as a ‘fiery Bear.’ He then later manifests of fairer appearance as a little man with a black cape, having a bald head like a monk, who could be seen as a Bonpo Tibetan Buddhist practitioner of Tantric dream Yoga, since its ancient practice would most definitely piss off the worshippers of the deified ‘Animus,’ made as a Jehovah/God/Allah – Devil/Lucifer/Shaitan.

However, if Faust was truly a rebel, of a ‘heterosexual’ orientation, he would have no doubt noted, just like the psychologist Carl Jung, that the all male pantheon of a patriarchal ‘Animus’ fixation has castigated the feminine principle of the ‘Anima’ out of the spiritual equation.

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Wherefore, as a rebel, he would seek out to conjure what has been cast into the abyss, whence to discover a real Necronomicon.

Hence, Faust would reverse the polarity, by conjuring up a Succubus ‘Anima’ fluctuation to name Mephistophina, who would then be in Faust’s mind one of the rebel Succubae of the seven planets, you could equate with the seven Chakras of Yoga practice.

To Faust himself, being a somnambulist and medium, Mephistophina has a real existence; she would be the personification of the transcendental  ‘Anima’ subject of Faust, an experience familiar in dreams, and more especially in the visions of Siberian shamans. Many of the Siberian shamans practice Nigredo trance and Albedo (fiery) lucid (cave) dreaming, via which they engage themselves with the ‘fiery’ Bear (female shaman) spirit, named Udagan, who Rubedo rebirths them back into the world, renewed.

Mephistophina would thus be a familiar spirit, akin to the Udagan of the Siberian shaman, who is of similarity to the inspiring ‘daemon’ of Socrates; and being an Entartete Kunst archetype, censored by ‘closeted’ theologians, Mephistophina would also represent a rebellion against the all male, Right-Hand-Path paradigm of a deified ‘Animus,’ made as a God.

It is suggested, then, in the light of modern research into lucid dreaming, that Mephistophina, though being a two-dimensional Grimoire image of a meditative aid, becomes as a three-dimensional interactive reality within a (sexagram/sixth-sense) ‘Coitus Pactum’ lucid dream; whereby the ‘Osculum infame,’ takes on a whole different meaning. The Osculum infame is the name of a supposed ritual greeting upon meeting with the Devil. The name means The Shameful Kiss, or The Kiss of Shame since it involved kissing the anus and genitalia of the (Mephistopheles) Devil.

A heterosexual male mage kissing the butt end of the’Animus’ archetype of a Mephistopheles, would find the Osculum infame, to be a very shameful act indeed, unless his sexual preference is otherwise of orientation. Not too sure about how heterosexual Witches feel about kissing the behind of their ‘Animus.’ Although it is said that 47% of women read superhero Grimoire comics, which feature chiselled chinned, sculpted males, wearing colourful skin tight leotards, revealing their tight Baboon butts. Apparently women, like tight Baboon butt males… a lot, ever since we were all apes. As for their Sapphic sisters they would be none too pleased, who would far prefer Mephistophina presenting up her arse.

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As for bisexual Aleister Crowley mages and their Babalon kin, they have no need to rebel against the all male paradigm of the deified ‘Animus;’ it suits them just fine.

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Mephistophina would then be Faust’s familiar, who is simply an aspect of his ‘Anima,’ manifesting in various guises, as a (Udagan) Bear, as an Elfin girl, as a Nun, as an invisible poltergeist presence ringing a bell, thrice; but always recognizable as the same familiar, who is his ‘Anima’ fluctuation of a Succubus, a Tibetan Buddhist would otherwise term as being a Dakini, who is a fluctuation of Shakti.

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Mephistophina is depicted partly dressed as a noblewoman, all in ‘Rubedo’ red, with an astral flight feather in her hat. The tattoo on her left shoulder is a Native American ‘heart-line’ Bear claw, referring to the power of hypnagogic (Nigredo) trance, which in shamanistic practice is experienced as residing in the (heart) chest area, where most of the nerve fibres of the Central-Nervous-System are to be found. The skull and crossbones on Mephistophina’s stockings, also refers to hypnagogic (Nigredo) trance.

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The crossbones is associated with the seventh Rune of Gebo, looking like an ‘X,’ whose symbolism refers to self-sacrifice into hypnagogic (Nigredo) trance as well as the introversion of the sexual impulse. The Gebo Rune has its equivalent Hebrew letter, being Gimel of the Cabbalistic 13th path interpenetrating Da’at, and Tarot card of the High Priestess Of The Silver (Sirius) Star, a Siberian shaman would equate with Udagan. In other words, the sexual impulse is introverted by prior meditating upon (High Priestess) Udagan, in order to overcome the terror of hypnagogic (Nigredo) trance ingress into conscious Coitus Pactum dreaming.

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The Gebo Rune equates with the English, G, which is utilised in Freemasonry. The ‘X’ also equates with the Latin numeral for (Occult blind) 10. The experience of hypnagogic (Nigredo) trance is otherwise termed as the ‘little death,’ whereupon you have the motif of the skull. As for the sigils, they have been adapted of symbolic alchemy for Mephistophina. Though hinted at, Mephistophina also has a little cape of remote viewing red silk swept behind her and a long pointed Chöd sword on her right side; for she be Left-Path-Handed.

Scene IV: The Art Studio (Faustus & Mephistophina)

Mephistophina: Ah, now, you please me greatly, indeed.

I hope we’ll get along together:

To drive away the gloomy weather, from around thy heart,

As you to seer, I’m dressed like young nobility,

In a scarlet gold-trimmed coat,

In a little silk-lined cloak,

A cockerel feather in my hat,

With a long, pointed sword,

And I advise you, at that,

To do as I do, in a word:

So that, footloose, fancy free,

You can experience Life, with me.

Slightly adapted from Johann Wolfgang von Goethe’s, Faust 

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NOTE: Some would classify my work as being Occult Pornography of adolescent fantasies, merely because I have reversed the symbolism of an all male symbolic paradigm of the deified ‘Animus,’ towards that of the female, of ‘Anima.’ But if so, they would be entirely missing the symbolic point.

The all male gender focus upon the deified ‘Animus’ has an underlying sexuality behind it’s symbolic influence upon all levels of culture; hence, it can also be construed as being Pornographic. When you have a biological gender focus, it will invariably involve sexuality; it is nature, which cannot be denied! However, the underlying sexual orientation is generally not seen, due to the sexual impulse being castigated out of the symbolic equation along with the ‘Anima.’

Most of the religiously hewn patriarchal grimoires are primarily populated by male archetypes of the ‘Animus,’ which frequent the heterosexual female psyche; whereupon said patriarchal grimoires are the PlayGirl stroke Bibles of conjuring Witch Nuns dancing orgiastic around their God and Devil, Angels and Demons, whose mantric spells often utilise the terminology of King, Lord, Master or Prince, etc. Some of the conjuring Witches are no doubt bisexual.

As for those Mages who conjure up the archetypes of the ‘Animus’ out of the patriarchal PlayGirl grimoires they may be sexually predisposed to do so of preference, such as Aleister Crowley for example, who was bisexual of leanings, writing erotic poems about Satan, etc. At least Crowley was honest about his androgynous bisexuality, many of the closeted bigots at the time considered to be… Wicked!

If, however, you be a heterosexual Mage, bisexual or a lesbian Witch, who decides to conjure up the ‘Fallen Anima’ and her archetypal (Succubi) Succubae Legions, you will soon find yourself being castigated as being a vile Pornographer peddling adolescent fantasies by the Politically Correct Thought Police; this is more so the case if you are a heterosexual Mage, to be duly seen as being… Wicked!

A heterosexual male who conjures up male archetypes amidst his Triangle Of Art Imagination is doing so in order understand aspects of his own masculinity. In other words, the conjured male archetypes are not external entities, they are otherwise ‘role-models,’ and in turn alternate guises of himself, which can be assumed within lucid dreams, of similarity to an actor acting as a character on stage.

Each of the alternate-guises are empowered by a feminine counterpart, you can term as a Succubus, who as an external entity, is an aspect of the Fallen ‘Anima.’ Whereupon heterosexual Faustus Crow rebelliously conjures up Mephistophina out of his PlayBoy grimoire.

Whereas the classical Faustian myth points at another sexual orientation, Christopher Marlowe to have had a preference for, which he communicated via his Judaeo-Christian Faust kissing the backside of Mephistopheles. Savvy!    

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SATANA SUCCUBUS OF SATANIC MAYA MATRIX DELIGHTS

Posted in Art, Chaos Magic, Comics, Cosplay, Discordianism, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 23, 2015 by FAUSTUS CROW

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The name of Satan is a Hebrew word; which is spelt, Seen-tayt-noon. In colloquial Hebrew it means the ‘adversary’ or the ‘accuser,’ which can be equated with the Hindu concept of Maya. The term, Maya is also a name of a Goddess, who creates the Illusion of realty birthing all material form.

The Hindu and Buddhist usage of the term of Maya describes all material form as being an illusion, like that of a (Matrix) computer simulation. As for the illusory nature of reality, it is backed up by the findings of Quantum Physics. The usage of the words ‘adversary’ and ‘accuser’ can be seen as a veiled reference to the feminine birthing all form, which is considered to be an illusion and that of a lie.

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Maya and that of her creation of nature, was the prior matriarchal focus of the animist belief systems, which the patriarchal inclined belief system of Judaism had castigated as being their ‘adversary;’ hence ‘accuser.’

This patriarchal perspective was carried over into the extremes of Gnosticism, whose philosophy considers nature to be essentially evil, which, of an extreme philosophy then informed Christianity and in turn Islam.

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Each of the three letters of ‘Seen-tayt-noon’ is also a word in its self, whereby each word also has its own intrinsic meaning. According to the Hebrew Cabbala ‘Seen’ represents a movement, a universal or cosmic motion, which underlies the movement of all things in the universe.

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This movement is pictured by the Cabbalists as the breath of their God returning from the material plane, back to the infinity of the creative principle, to thence return once again to matter, for the process to endlessly repeat. Basically, when an individual becomes incorporeal, the essence of the individual is seen to return back to the (energy/information) source, from where the individual is then re-birthed back into matter via the female of a never-ending repeat, which you could term as eternal recurrence.

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An analogy would be that of going through a vaginal (Vesica Pisces) door, when being birthed into the world of your three dimensional existence, wherein you experience the fourth dimension of linear time.

To then later leave, incorporeal, through another door. But the two doors are actually the same door in the fifth dimension, of an eternally recurring closed-timelike curve.

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The word ‘Tayt’ represents a cellular structure such as the mitochondria, which carries a memory ‘engram,’ of genetic information passed down from the mother to her children as well as referring to a neural circuit, or any other cybernetic analogy representing a basic structure exhibiting a cell like nature. It is essentially a feminine concept, which tends to enclose energy and therefore information, repeating it’s self like that of a closed-timelike curve, symbolised as an Ouroboros.

It is a cybernetic self-referencing process, which continues to build its self in its own image, which the Tibetan Buddhists perceived as a Tulpa creating Tulpas like its self, amidst a Tulpa realty of a (Maya) thought form. Like a simulation, you have pixels, which are your atoms; these atoms/pixels are programmed to create building blocks such as the (Serpentine) mitochondrial DNA. The DNA are the building blocks of all carbon-based-life-forms. The Carbon atom, has 6 protons, 6 neutrons, and 6 electrons, whose atomic number 666 is the number of all carbon-based-life-forms upon the planet including humanity.

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Finally ‘Noon’ stands for a high principle operating within the cosmos. This is the principle of cosmic indeterminism, which is fundamental to Quantum Physics; whereupon you have a fifth dimensional state, where you simultaneously exist and do not exist like that of Schrödinger’s ‘Pussy’ Cat.

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As an aside of an artistic Seen-tayt-noon conjuration, there was a most curious phenomenon concerning the comic book medium, which manifested as a rebellion against the constraints of the Biblical Comic Code, at the end of the Vietnam war.

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During the end of the Hippie era seventies there were a number of comics investigating certain female archetypes, which are essentially symbolic reversals, such as Warren comics reversal of Dracula, which led to the creation of Vampirella; there was also the Atlas-Seaboard comic, entitled Devilina. In Italy you had the adult comic, Lucifera, which hearkened back to Lucifer’s origins as the Roman Goddess, Diana-Lucifera; whereas Marvel comics had Satanic… Satana.

Vampirella was hugely successful, which eventually led to a film; however her iconic character became fused with the more mythic Satana, when the publishing house of Warren Comics went bust, which was a darn shame; this invariably led to the ascendancy of Satana of a collective focus.

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I still remember reading the Satana comic as a kid, which I utilised as a, I Lucid Dream of Jeannie, grimoire to conjure from, since I considered the medieval ilk of grimoires to be rather boring, whose tomes had no Succubae populating their monkish pages.

Satana is still very much part of the Marvel universe, even though she has since fell out of favour, because of a resurgence of religious conservatism after 9/11, along with a feminist backlash over her skimpy costume. But then, what do they expect, she is described as being a wet-dream Succubus. Her character apparently had interactions with Doctor Strange who is in the offing for a film. Whether Marvel will make a film about Satana is debatable, due to Disney’s involvement, whose studio doesn’t want to inspire many a little boy to whack off under their bed sheets, while howling out barbarous Goetic incantations, over four colour two-dimensional pictures.

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This is more so the case due to Lady Thor Whoopi Goldberg of the Swastika hammer who will probably not be too keen on the idea of a film about Satana, even though her feminist sister in the hood, Oprah Winfrey is into Twilight Porn, 50 Shades of Grey. But then they have to pander to a Christian audience of Mary-quite-so-Contraries, whose shady infatuation for Bad-Boy Vampire-Necrophilia, and Werewolf bestiality, indulges in ensuing Animus fantasies of being dominated by Incubi.

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So, if a mage seeks to understand why the Satana archetype has fallen from grace, he doesn’t have to look too far, when to investigate the feminine hordes collective focus upon their Animus of a Twilight ‘Christian Grey’ Incubus.

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Such a mage might Harry Potter assume the internal guise of Christian Grey in order to engineer a synchronistic meeting with E. L. James, or that of other Hermione Witches like her, of similar big-Vatican-bank accounts, which are being filled with feminist shekels.

In general, it appears that Witches are symbolically driven. Their overriding symbolic fixation upon the male principle can be determined when to look at the present media, which is very much tied up with an ongoing religious focus upon a patriarchal paradigm.

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The Witches symbolic infatuation upon an All Father Animus God, crucified God-Guy Beta-Male and an Alpha-Male Bad-Boy Devil, along with machismo Angels and butch Demons, they themselves had forged around a Christian Grey; hence birthing his dominator culture of an illusory construct. But the quite-so-contrary Marian Witches can’t help themselves, they have been Seen-tayt-noon hardwired that way of a Bene Gesserit genetic imperative.

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GOETIA GIRL BAEL, SUCCUBUS WITCH QUEEN SHAMAN OF SIBERIA

Posted in Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2014 by FAUSTUS CROW

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The First Principal Succubus is called Bael, who be a shaman Queen ruling in the far East across the steppe, under the fire star of the Mongol’s, whom emanates from the sixth dimensional planetary sphere. She enables her master to go about Invisible. She rules over sixty-six Legions of Infernal Succubae. She appears of triangle of art vision in divers shapes, sometimes like a Cat, or as a Toad; at other times like a most beautiful Siberian woman, or all these forms at once to otherwise call Baela.

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She speaks clairaudient of most seductive tone, concerning those psychic secrets behind her Iron Curtain of a hypnagogic hymen veil to pentrate.

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Behind her Iron Curtain, the ancestral shamans therein to have psychic abilities, the one time Soviet sought to weaponise, whom frequented the steppe unto Siberia. Her seal is to be mediated upon, and to visualise before calling her forth, or else she will not do thee homage.

It is usually said of commonality that the name Bael is derived from the Canaanite deity known as Baal (/ˈbeɪl/ BAYL; sometimes spelled Bael, Baël [French], Baell), who is mentioned in the patriarchal Hebrew Bible as the primary god of the Phoenicians.

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In the 17th Century Goetic occult writings, Bael is seen as one of the first spirits, which was released from Solomon’s brazen vessel of a Genie bottle.

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While his Semitic predecessor was depicted as a horned man or a horned bull, this spirit, Baal of the traditional grimoire tradition is said to appear in the forms of a Human, Cat and Toad, or combinations thereof. An illustration in Collin de Plancy’s 1818 book Dictionnaire Infernal rather curiously placed the heads of the these three creatures onto a set of ‘Spider’ legs.

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When to totally ignore the indoctrinated perspective of Biblical lore to otherwise look Into the ancient shaman legends of Siberia, such as those of the Buryat, you will find the first shaman called Khara-Gyrgän.

The Buryat relate that Khara-Gyrgän declared that his power was boundless; wherefore the creator put him to the test. The creator sadistically took the soul of a (Bael) girl and ‘bound her up within a bottle.’

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To make sure that she wouldn’t escape, the creator put its finger into the neck of the bottle.

The shaman set about freeing the soul of the girl by beating the trance drum in order to conjure up his eight-legged night-Mare pony-girl Succubus to ride through inner space, somewhat like that of a prior Dr Who piloting his TARDIS.

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He soon discovered the whereabouts of the girl’s soul in order to free her. Khara-Gyrgän shapeshifted into the form of a ‘Spider’ and in doing so stung the face of the creator. The creator took its finger out of the ‘bottle,’ whence the girl’s soul escaped. The creator was very furious that its creation had passed the test, which indicated that the creator could be in time surpassed, so it decided to curtail the shamanic power of Khara-Gyrgän, after which the magical powers of the shamans were severely diminished.

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According to Yakut shamanic legends of similarity to the Buryat, the first shaman refused to recognise the superiority of the programming creator due to its sadistic temperament.

The Yakut legend relates that the body of the first shaman was made up of a mass of snakes, which you can otherwise see as serpentine DNA of an inner program. The creator was fearful that the shaman would become far too powerful, so it sent down a fire to burn him and his world.

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But in the ensuing conflagration of an ancient world-wide catastrophe, when a comet struck the Earth, an amphibious Toad escaped the inferno.

From the body of the Toad erupted forth the serpentine (DNA) spirits of the future Yakut shamans, who trace their genetic lineage back to the first shaman.

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The motif of the amphibious ‘Toad’ refers to hypnagogic trance, which is attained at the midpoint between waking (land/macrocosmic) and (water/microcosmic) sleeping; this ability enables a shaman to access the underlying informational (microcosmic) order of his (macrocosmic) Maya simulation reality.

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The symbolic motif of the Toad is associated with similar reptilian symbolism to that of the ‘amphibious’ Nommo of the South African tribe of the Dogon and that of the Sumerian Annunaki, along with the reptilian motifs of other cultures across the globe, including Dragons. Some will see the Toad and that of the Snake or Dragon as being a Zecharia Sitchin reference to demonic reptilian extraterrestrials of David Icke tales; such is ‘not the case’ at all, the symbolism actually refers to shamanic ‘trance adepts.’

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You also have the symbolism of the Cat, which is very often tied up with the feminine principle. There are many a Goddess from varying cultural myths who are described being in the company of Cats, riding them or otherwise assuming their predatory forms; whether they be Lionesses, Tigers or domesticated Cats, etc; such as the Sumerian Goddess, Ishtar riding a Lioness, the Hindu Goddess Durga, riding a Tiger or that of the Norse Goddess Freyja being the Witch mistress of Cats.

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The motif of the (Sphinx) Cat refers to what is termed as the Bedroom Invader Experience or Old Hag Syndrome, which is often experienced at the point of (Toad) hypnagogic trance ingress into the dream; it is when a shaman is visited by his female spirit lover of a Succubus, whose nature is seen to be predatory; hence she is associated with a Cat, which has since become that of a Witches familiar.

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Siberian shamans often relate that their shamanic powers and abilities are derived from the internal dream congress with Succubae Spirit-Wives, who are considered to be female shamans of similarity to the Hindu/Buddhist female entities called Dakinis.

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You can otherwise term these Succubae shamans as being Witches, whom initially manifest as Bedroom Invader ‘Cats’ at the point of hypnagogic ‘Toad’ ingress into the ‘Feminine’ domain of the dream. Wherefore the seal of Bael, which depicts a Toad, represents a symbolic formula of shamanic trance ingress into the watery amniotic realm of the electron dream.

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