Archive for Poland

AL AZIF NECRONOMICON PART V: THE WITCHER

Posted in Art, Chaos Magic, Comics, fantasy, Film, Goetia Girls, Horror, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Sword And Sorcery, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 1, 2019 by FAUSTUS CROW

If you are interested in the Al Azif Necronomicon, part 5, which is being serialised as a fully illustrated underground comic book, it can be found on my Patreon page, Please Click Here.

Long before Christianity made its empire-building way into central and Eastern Europe, many of the ancient Pagan peoples practiced what can be construed as shamanism in what are now called Poland, Czechoslovakia, Hungary, Romania and Transylvania, etc.

For example, archaeologists have discovered traces of mysterious rituals performed by (Witcher) Shamans about 9,000 years ago in Poland.

The archaeological site is located near today’s lake Swidwie (West Pomeranian) in North-Western Poland, which has been studied since 2012.

One of the most interesting discoveries is an area of a circle, where scientists discovered mysterious structures.

The main feature of the site turned out to be a trapezoidal building having poles, surrounded by an arch of stones placed at equal distances from each other, which has lain buried down the ages, while numerous wars have been fought above its bones.

There are also ritualistic sharpened yew sticks driven into the surface in the shape of a horizontal figure similar to the Big Dipper, a fragment of the constellation of Ursa Major.

However, many researchers have noted that the shamanic worldview of the pre-Christian European peoples have survived in their colourful myths.

It is upon these ancient myths The Witcher (Polish: Wiedzmin), fantasy series of novels and short stories have derived much of their inspiration, that were written by Polish author Andrzej Sapkowski.

The Witcher books led to the development of a 2007 action role-playing game developed by CD Projekt Red, called The Witcher. The Witcher game was duly followed by The Witcher 2: Assassins of Kings in 2011, and The Witcher 3: Wild Hunt in 2015.

As in the books, upon which the video games are based, the story take place in an alternate medieval fantasy world.

The story follows Geralt of Rivia, one of a few traveling monster hunters who have shamanic powers, known as Witchers.

The Witchers are masters of the martial arts, who can be seen as warrior Shamans. The Witchers also have control over the elements, who use five elemental hand-signs to do so, which are similar to Mudras used in the meditation practice of Yoga.

In Yoga practice a Mudra means ‘sign,’ seal, gesture, or mark. Yoga Mudras are symbolic meditation gestures often practiced with the hands and fingers.

They facilitate the flow of energy within the dream (subtle) body, when utilised when (sexagram/sixth-sense) lucid dreaming.

The ‘meditation tool of a Witcher video game’ has a system of moral choices, which are part of its adult story-line.

It has been noted for its time-delayed consequences and lack of black-and-white morality.

There are also numerous references to the works of the author H.P. Lovecraft in the highly successful Witcher video games.

For example, one of the enemies Geralt fights against in the first game is Dagon, as described by Lovecraft. In the Wild Hunt, Geralt can also get hold of the Necronomicon.

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GHOST GIRLS OF EASTERN EUROPEAN SHAMANISM

Posted in Alien, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Succubus, Tulpa Creation, Vampire, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 31, 2015 by FAUSTUS CROW

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Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.

According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.

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The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.

A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.

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He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.

There are are also Russian folktales concerning the Rusalki, which have parallels with the Germanic Nix, Irish Banshee and the Glaistig; but most especially in regards to the Hindu/Tantric female faerie sorceresses called Dakini’s, who are also known by the Tibetan Buddhist as Khadomah.

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Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.

However, In Greater Russia, whose environment is much harsher, the Rusalki appear as lithe gymnastic Scythian Amazons of warrior predilection. But then, they are a fusion between the Valkyries of the (Rus) Vikings and the female spirits of Slavic elder lore.

While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.

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One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)

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The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.

The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.

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Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.

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The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.

“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)

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These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.

The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.

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The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.

It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).

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Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

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But as beautiful as these underwater dream Harems of trance realm be, the amphibious Rusalki between and betwixt realities yearn to return to the land when summer approaches whereby, “the waters are warmed by the rays of the life-giving light, they have to return to the trees, the houses of the dead.” (Johnson: 155).

The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.

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The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).

During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).

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The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.

Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.

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The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.

The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).

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The Amphibious natured Navki and Rusalki ghost girls are in essence a folktale memory of ancient priestesses of a matriarchal Religion, who were adept at trance (drowning) Induction. The Rusalki were very likely female Shamans due to their close proximity with other North-Central Asian Shamanistic traditions such as those found in Siberia. The coming of Christianity could not handle the elder focus upon a ‘feminine Inorganic Intelligence;’ but most especially in regards to the predatory sexual orientation of an alternate Grimoire listing Succubae, which made the Christian priests to go around Cross-legged, fearing that their manhood would be enticed into a deep moist Slavic maw, forever hungering of an all female Goetia.

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GOETIA GIRL ZATANNA ZAGAN OF INTERDIMENSIONAL LUCID DREAM SEXUALITY

Posted in Alien, Art, Chaos Magic, Comics, Cosplay, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 23, 2014 by FAUSTUS CROW

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The Sixty-first Succubus archetype of the Fallen ‘Anima’ is Żagań. She is a Great Queen and President, appearing at first in the visionary form of a Buffalo with Gryphon’s Wings or having the wings of a Bat, whom is a loving sister of (Lamassu) Haagenti; though twinned, there are differences between them.

After a while she puts on the form of a most beautiful woman who has horns upon her head, or to otherwise manifest looking like Zatanna out of the alternate reality, DC comic grimoires.

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She makes her conjuring Artist, Avadhuta wise, when he attunes himself to his circadian rhythms, which are regulated by the light of the Sun, around whose Diana-Lucifera orb, the Earth follows Kepler’s planetary laws.

She can heighten her conjuring Artist’s erotic emotional states as if he is drunk upon Dionysian Wine, or to otherwise become mellow, like placid Waters, as well as making him hot Blooded of emotion, reaching once again for the Wine, as an ecstatic Dionysius.

Her conjuring Artist will thence become aware that his Watery emotions can be transmuted into ecstatic Wine of a highly charged erotic state under the orbit of the horned Moon. Her conjuring Artist will also realise that his emotional charge, empowers hypnagogic trance ingress into spun electron dreams, around the Zodiac ages, of a circadian rhythm star clock.

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She, as a most salacious Art Muse, who inspires Art-Sex, of symbolic alchemy, whom bestows an understanding of the Seven Sacred Rituals of how to mix all the planetary colours of Metals suspended in oils.

Thence her conjuring Artist to paint, of neuro-advertising Chakra Coinage upon cave wall of ancient memory, to alter, canvas upon an easel altar. While doing so, to chant of mantra, “make love not war, around the multiverse world tree, Yggdrassill.”

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Such erotic paintings she to Succubus Art Muse dream inspire of planetary metals suspended in oils to colour, subliminally influences those emotions of an endocrine system Dominion, that coloured Metal is in. Wherefore she can even make Fools wise to themselves, of Heyoka self observation amidst their Samsara existence of an imprisoning circus. She governs over 33 Legions of Succubae Art Muses, and her Seal is to be mediated upon, should you desire to conjure her amidst your Triangle of Art imagination unto a Coitus Pactum Sexagram, Lucid Dream.

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Żagań in French and German, is Sagan; in Upper Sorbian it is Zahań, while in Czech it’s Zaháň, and in Latin you have Saganum, which of a name means, Wise One. When made more feminised you have Żagańa or that of an alternate, Zatanna, whom will enable her master to escape the symbolic Matrix of religious indoctrination, whose minions are forever warring.

Whereas, Żagań is the name of a town on the Bóbr river, situated in Western Poland. The town is the capital of Żagań County in the historic region of Silesia where Stalag Luft III is situated, from whose WWII prisoner of war camp the Great Escape occurred. Żagań, was first mentioned in a 1202 deed, which then belonged to the Duchy of Lower Silesia at Wrocław under the rule of the Piast duke Henry I the Bearded.

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The German astronomer, mathematician and astrologer Johannes Kepler (1571–1630) lived in Żagań from 1628 to 1630, from where the American astronomer Carl Edward Sagan (/ˈSeɪɡən/; November 9, 1934 – December 20, 1996) derived his surname.

Carl Sagan was not only an astronomer, he was also a brilliant astrophysicist, cosmologist, author, science popularizer, and science communicator in astronomy and other natural sciences. His contributions were central to the discovery of the high surface temperatures of Venus. However, he is best known for his contributions to the scientific research of extraterrestrial life, including experimental demonstration of the production of amino acids from basic chemicals by radiation.

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Sagan assembled the first physical messages that were sent into space: the Pioneer plaque and the Voyager Golden Record, universal messages, which could potentially be understood by any extraterrestrial intelligence whom might find them. However, in relation to another sentient species sending a message to us, there are other ways of communicating information throughout space and time.

If there are highly advanced extraterrestrial civilisations frequenting the Angel angles of this dodecahedron universe or that of other universes parallel to our own, of alternate reality possibilities, they will very likely utilise quantum wormholes, via which to communicate with other sentient species. Alas, many a civilisation has a tendency to destroy themselves, whose myriad legions of cosmic ghosts, clairaudient whisper, “do not repeat our mistakes.”

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Wherefore, your (quantum wormhole) electron dreams, would be the perfect arena of (Vesica Pisces) communication throughout space and time. The nature of the communicated information tuned into will of course be dependent upon which Succubus the Sorcerer Artist to conjure amidst his Triangle of Art imagination to thereby erotically engage with, when to penetrate her vaginal Stargate via a lucid dream.

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