Archive for Siberian

SHAMAN TRANCE TARDIS HORSE DRUM

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 29, 2017 by FAUSTUS CROW

The Artwork depicts a Siberian shaman drum. The drum in Siberian shamanism, in particular, is symbolised as being the trance horse the shaman rides into an ecstatic state of consciousness. The motif of the horse is often symbolised as being an eight-legged Mare. 

The eight-legs of the Mare represent the eight cardinal directions, which are also associated with the eight points of a ‘cube.’ Hence in the Tarot card of the ‘horned’ Devil XV, which depicts a demonised ‘horned’ shaman, he is traditionally depicted seated upon a ‘cube,’ you could imaginatively associate with the TARDIS of Doctor Who, since the shaman saw the drum as a macrocosmic tool, that empowers his microcosmic trance ingress into other (inner) realities.

At the centre of the ‘cube,’ and at the centre of the eight cardinal directions you have a ninth point. Whereby the eight-legged Mare was also associated with the world tree interlinking nine (worlds) states of consciousness, which of a symbolic formula was painted upon the drum skin. 

The eight-legged-Mare is also a fusion of two horses, representing the two nerve channels running along either side of the spinal (world tree) column. These two (horses) nerve channels belong to the Autonomic-Nervous-System. When these two (horses) nerve-channels are brought into balance via meditative (hypnotic) drumming, the two horses become fused, as the eight-legged-Mare, which activates the central-nerve channel of the Central-Nervous-System running along the centre of the spinal (world tree) column.

When the central-nerve channel is activated, the shaman will experience the arousal of what is known to the Yoga practitioner as the Kundalini-Shakti, along his spinal (world tree) column. The Kundalini Shakti is considered to be the life-force, which is experienced as being a liquid (fire) light, whose ‘quintessence’ is intuitively felt to have a feminine  (Anima Mundi) source. The Kundalini Shakti may be an intuitive description of the bio-photon, emanating from the Mitochondrial DNA, which is passed down from the mother to her children.

Whereupon the eight-legged Mare is seen to be the (female-centaur) animal form of a Spirit Wife, who manifests as a shape-shifting human (Anima) female within visionary states and bio-photon illuminated lucid dreams, a Surrealist Artist would call an Art MuseIf you are interested in an Art print or the shirt design, etc, Check Out my Redbubble shop, Please Click Here.  

Those of a Westernised temperament will probably find that the symbolism employed by a shaman is a bit too much to swallow, concerning his/her trance tool of a (genie bottle) drum. In order to further clarify what the shamanic symbolism of the drum is communicating in regards to hypnagogic trance induction, which is none too dissimilar to inducing a state of self-hypnosis, you have the following excerpt from a research paper.

Shaman Night-Mare Drum Siberian Trance by MARDUN

“Scientific research has determined that drumming patterns are associated with different brain wave activity, as measured by cortical EEG. The research was conducted, to determine if the subjective experience of percussion in general, and rhythmic drumming in particular, would elicit (inner) images or (internal) sensations with a common (symbolic) theme.”

“Twelve participants were divided into three groups and monitored for EEG frequency response to three separate drumming tapes. These tapes included: Shamanic Drumming, at approximately 4 to 4 1/2 beats per second; I Ching Drumming, at approximately 3 to 4 beats per second; and Free Drumming, which incorporates no sustained rhythmic pattern.”

“Four cortical sites, bilateral parieto-temporal and parieto-central areas, were monitored for each participant during three sessions. At the conclusion of the sessions, each participant prepared a brief written account and was given a tape-recorded interview of his or her subjective experience. These subjective experiences were then categorized according to recurring themes and consensual topics.”

“This research supports the theories that suggest that the use of the drum by indigenous (shamanic) cultures in ritual and ceremony has specific neurophysiological effects and the ability to elicit temporary changes in brain wave activity, and thereby facilitates (Triangle Of Art Imagination) imagery and possible entry into an ASC (altered state of consciousness – active imagination of varying visionary intensities), especially the (shamanic state of consciousness – hypnagogic trance/ecstasy) SSC.”

“Drumming in general, and rhythmic drumming in particular, often induces (inner) imagery that is ceremonial and ritualistic in content (depending on setting) and is an effective tool for entering into a non-ordinary or altered state of consciousness (ASC – active imagination) even when it is extracted from cultural ritual, ceremony, and intent.” 

“The drumming also elicits subjective experiences and images with common themes. These include: loss of time continuum; movement sensations, including pressure on or expansion of various parts of the body and body image distortion, “energy waves,” and sensations of flying, spiraling, dancing, running, etc.; feelings of being energized, relaxed, sharp and clear, hot, cold, and in physical, mental, and/or emotional discomfort. 

“Emotions, ranging from reverie to rage; vivid images of natives, animals, people, and landscapes; and non-ordinary or altered states of consciousness (ASC – active imagination), whereby one is conscious of the fact that there has been a qualitative shift in mental functioning., including the shamanic state of consciousness (SSC -hypnagogic [the Phase] trance) journeys, out-of body experiences (OBE’s), and visitations.” 

“A pattern that incorporates approximately 4 to 4 1/2 beats per second is the most inducing for ‘Theta’ gain. (Theta frequency is usually associated with drowsy, near-unconscious states, such as the [hypnagogic trance] threshold period just before waking or sleeping. This (acoustic/’music’) frequency has also been connected to [creative – ‘Muse’] states of “reverie” and [The Phase] hypnogogic dream-like image.”

“The pattern of the drumbeat as it relates to beats per second can be correlated with resulting temporary changes in brain wave frequency (cycles per second) and/or subjective experience, provided the drumming pattern is sustained for at least 13-15 minutes.” (NOTE: The Theta brainwave is depicted in the design.)

NOTE: The excerpt of the research paper, was adapted with notations, from a ‘Presentation Abstract’ by Melinda Maxfield, Ph.D. for the Stanford University Centre For Computer Research In Music And Acoustics (CCRMA).

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SHAMAN SPIRIT DRUM LUCID DREAMING

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 27, 2017 by FAUSTUS CROW

The Artwork depicts a Yakut Shaman, whose trance drum is symbolically seen to be the genie bottle abode of the his Spirit Wife, who visits him within his lucid dreams.

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The European classification of the Spirit Wife is usually based upon a medieval perception, which considers the Spirit Wife to be a demonic entity, called a Succubus.

Western psychology, during the Soviet era, once considered the Spirit Wife complex of Siberian shamanism and that of other shamanic cultures to be a mental aberration, or that of fantasy prone individuals indulging themselves in erotic delusions. However, the psychologist Carl Jung otherwise saw the Spirit Wife/Succubus as being an archetypal aspect of the ‘Anima.’

Jung saw the feminine archetype of the ‘Anima’ as being the personified intermediary with the psychic powerhouse of the subconscious, whose myriad female forms are encountered within ‘lucid’ dreams, from whom a Shaman derives his psychic abilities, an Artist is inspired by as his Art Muses.

The motif of the Spirit Wife is known to the Yoga practitioner as Shakti, whose numerous feminine aspects are called Dakinis, which is also very much part of Tibetan Buddhist dream Yoga practices as well as Siberian shamanism.

For example, the Goldi tribe of Siberia clearly distinguish between a female tutelary spirit, known as an Ayami, which in Western occult practice is of similarity to the (HGA) Holy Guardian Angel, (Jung would also see the HGA as being the ‘Anima,’) who chooses the shaman.

Whereas the helping spirits, (Jung would see as being the myriad aspects of the ‘Anima’) the Goldi call Syven, an occultist would call (Succubae/Succubi) Demons, which are subordinate to the Ayami. The Syven are granted to the Shaman by the Ayami herself. The Altaic name, Ayami means, ‘Silk Twisted In Beauty,’ as in a horse’s mane. The Siberian shaman in particular sees the drum as his Mare, who too is his Spirit Wife, whom he trance rides as an eight-legged female centaur into conscious dreaming.

According to the ethnologist and anthropologist, Leo Sternberg, the Goldi explain the relations between the Shaman and his Ayami by a complex sexual emotion. Below is an experience related by a Goldi shaman:

“Once I was asleep on my sick-bed, when a spirit approached me. It was a very beautiful woman. Her figure was very slight, she was no more than half an arshin (71 cm.) tall. Her face and attire were quite as those of one of our Gold women.

Her hair fell down to her shoulders in short black tresses. Other shamans say they have had the vision of a woman with one half of her face black, and the other half red. She said: ‘I am the “Ayami” of your ancestors, the Shamans. I taught them shamaning. Now I am going to teach you. The old shamans have died off, and there is no one to heal people. You are to become a shaman.’

Next she said: “I love you, I have no husband now, you will be my husband and I shall be a wife unto you. I shall give you assistant spirits. You are to heal with their aid, and I shall teach and help you myself. Food will come to us from the people.”

I felt dismayed and tried to resist. Then she said, “If you will not obey me, so much the worse for you. I shall kill you.”

She has been coming to me ever since, and I sleep with her as with my own wife, but we have no children. She lives quite by herself without any relatives in a hut, on a mountain, but she often changes her abode. . . . Sometimes she comes under the aspect of an old woman, and sometimes under that of a wolf, so she is terrible to look at.

Sometimes she comes as a winged tiger. I mount it and she takes me to show me different countries. I have seen mountains, where only old men and women live, and Villages, where you see nothing but young people, men and women: they look like Golds and speak Goldish, sometimes those people are turned into tigers.

Now my ‘Ayami’ does not come to me as frequently as before. Formerly, when teaching me, she used to come every night.’

She has given me three assistants-the ‘Jarga’ (the Panther), the ‘Doonto (the Bear) and the ‘Amba’ (the Tiger).

They come to me in my dreams, and appear whenever I summon them while shamanising. 

If one of them refuses to come, the ‘Ayami’ makes them obey, but, they say, there are some who do not obey even the ‘Ayami.’ When I am shamaning, the ‘Ayami’ and the assistant spirits are possessing me; whether big or small, they penetrate me, as smoke or vapour would.

When the ‘Ayami’ is within me, it is she who speaks through my mouth, and she does everything herself.

When I am eating the ‘Sukdu’ (the offerings) and drinking pig’s blood (the blood of pigs is drunk by shamans alone, lay people are forbidden to touch it), it is not I who eat and drink, it is my ‘Ayami’ alone.”

NOTE: The quoted material concerning the Ayami is derived from: Mircea Eliade, Shamanism, op. cit., PP. 72-3, quoting Leo Sternberg, ‘Divine Election in Primitive Religion’ (1924), PP. 476 ff. cf.. Shamanism, PP. 42l ff., for autobiographies of South-Indian Savara male shamans and female shamans, whose marriages to (Anima – Animus) spirits are in striking parallel to the documents collected by Sternberg.

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SHAMAN DRUM SIBERIAN TRANCE

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 22, 2017 by FAUSTUS CROW

The design features a Finno-Ugric Siberian shaman. The word Shaman originates from Siberia, which is said to be derived from the Evenki word “šamán,” most likely from the South-Western dialect spoken by the Sym Evenki peoples. If you are interested in the Art pint, shirt design, etc, Check Out my Redbubble shop, Please Click Here.

The Tungusic term, Shaman, was subsequently adopted by Russian explorers interacting with the indigenous peoples in Siberia. The word, Shaman can also be found in the memoirs of the exiled Russian churchman Avvakum.

The term Shaman has since been adopted by anthropologists as a coverall term for numerous other cultures who share similar shamanic techniques, which enable a practitioner to alter his/her (brain wave) states of consciousness.

The Siberian shaman in particular utilises the drum. The drum is often referred to as being an eight-legged-mare; which is in turn is associated with the abode of a (Anima emanation) Spirit Wife, somewhat like a genie in her (drum) bottle. In other words, the drum, Mare and Spirit Wife are seen to be the same. (The Eight legs of the Mare, being the eight compass directions of a symbol painted upon the skin of the drum, which is also associated with the motif of the World Tree.)

 

The shamanic motif of the Mare and the Spirit Wife leads to the term ‘Nightmare,’ which originally referred to the Old-Hag Syndrome.

The Old Hag Syndrome is otherwise known as the Bedroom Invader Experience, which is experienced when an individual inadvertently accesses hypnagogic trance.

An unprepared individual will invariably become terrified when accessing hypnagogic trance, wherein he/she will experience the manifestations of his/her deepest fears, which often involves sexual scenarios.

Whereupon the term, Old-Hag Syndrome refers to the visitation of a Succubus, whose initial manifestation is nightmarish, which induces the experience of intense pressure upon the body, the sensation of being (Sphinx) strangled, sleep paralysis, vivid hallucinations, and eventual lucid dreams.

Wherein an individual will feel as if he is being abducted by otherworldly (Alien) entities as well as experiencing out of body experiences.

The Shaman learns to control his fear, in order to ride the (inner TARDIS) ‘Night-Mare,’ rather than being ridden by her.

Whereupon she becomes his (Ally) Spirit Wife; hence the carved (World Tree/Axis-Mundi) handle of the Shamans (Mare) drum in the design, which represents his (trance) Spirit (Anima-Mundi) Wife.

(NOTE: The Mare/drum [trance symbol and tool] is seen to be tethered to the World Tree, which symbolically represents the spinal column of the Shaman. The Spirit Wife refers to what Yoga practitioners call the Kundalini Shakti, which is experienced as a liquid energy that is aroused to arise along the (World Tree) spinal column. the Kalahari Bushmen of South Africa call this inner energy, Num, which is aroused when a practitioner accesses hypnagogic trance, which the Bushmen call, Kia. In ‘trance dance’ culture of the [Rave] dance clubs, this inner energy is known as ‘The Rush!’)

 

The monotonous beat of the drum stimulates the Theta brain wave, which induces hypnagogic trance. The experience of hypnagogic trance is basically hypnotic induction.

The Theta brain wave is also associated with anxiety reduction, the active (day dreaming) imagination, lucid dreams and Zen meditative states.

Shaman Drum Siberian Trance by MARDUN

The Theta brain wave is depicted in the design, which is also known as the hyper-suggestible state.

The inducement of the Theta brainwave allows for mental programming via the use of repetitive Mantas, such as the ecstatic songs (and trance dancing) of a shaman are effective at dispersing fear states, when sung in conjunction with the (Spirit Wife/Mare/Pony-Girl) drum.

Shaman Drum Siberian Trance by MARDUN

The above Art and information is covered in my Art books, ‘Goetia Girls,’ which are available from Createspace and Amazon, under my author’s name, Faustus Crow.

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PONYGIRL TRANCE WITCH

Posted in Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Lucid Dreaming, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 15, 2015 by FAUSTUS CROW

The Seventieth Succubus of the Goetia is called Seere, Sear, or Seir. As of per usual the classical Goetia describes this spirit to be male, who is described as riding a winged horse like the ancient Greek, Pegasus.

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However, the name of Seere is very likely derived from the Old Norse term, Seiðr, which is sometimes anglicized as Seidhr, Seidh, Seidr, Seithr, Seith, or Seid, describing a type of sorcery that was practiced in Norse society during the Late Scandinavian Iron Age of ‘singular eyed’ seer far-sight.

A number of scholars have debated what exactly Seiðr is; some have argued that it was shamanic of practice, since its ecstatic practitioners engaged in visionary journeys into other worlds throughout space and time, which of modern terminology would be termed as remote viewing.

Seiðr was primarily practiced by women, and like Succubae Witch wives, the Norse called Valkyries, they rode their (broomstick) spirit horses into trance.

Seiðr was also practiced by the shamanic deity, named, Odin, whose Succubae Witch handmaidens were the Valkyries, ringed around the Zodiac Ages of the thirty-six decans. Odin was simultaneously responsible for war, poetry and sorcery. But it was the Goddess of Witchcraft, who was also the mistress of the Valkyries, called Freyja, who originally taught the practice of Seiðr to Odin.

If the name of Seere is indeed derived from the term of Seiðr, the symbolism of the winged horse may offer further insight into the matter, should it be a veiled symbolic reference to the practice; since the Goetia dates from the witch burning era, when much of the pre-Christian elder lore was lost.

The symbolism of the winged horse is very much a creature of shamanic lore, which is especially the case in North Central Asia, across the steppe unto Siberia, where you find Mongolian shamans speaking of a personal psychic power, called Hii (wind), or Hiimori, which means Windhorse. The Windhorse in Norse mythology would be represented as an eight-legged-mare, called, Sleipnir, which is ridden by Odin. The name of Sleipnir means, ‘gliding one.’

The Hiimori is seen to be housed within the chest area of the heart; its power is basically the ability to induce hypnagogic (gliding) trance, which will vary in its power according to how you use it, such as for remote viewing, for example; hence you also have the word, Seer, the name of Seere, and their root of Seiðr.

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The practice of Seiðr is also associated with sex magic; however, the scholars are not too sure what form it took. What they do know, is that it was mainly practiced by women in Norse society. This can be easily sorted, when to look into other shamanic cultures, where you will duly find many a female shaman allowing themselves to be sexually possessed by male spirits, who were considered to be their spouses, which enabled the female shaman to negate the terror of trance ingress; in other words, her fear was otherwise transmuted into ecstatic union with the divine.

This practice can also be found in Mesopotamia, where the Prophetesses of the Middle Eastern temples became as (Shekinah) vessels for their ‘Animus’ God, just as the ancient Greek Priestesses of Delphi were possessed by the Sun God Apollo, who in Norse society would be equated with Odin.

You could even go as to far to say that the 1634 possessions of the Nuns of Loudun, and that of other Nuns was an inadvertent expression of this possession by their crucified God of the Solar Cross, amidst the twelve machismo apostles, who govern over the’Animus’ ages of the Nuns Zodiac.

There are hardly any cases of Monks being ecstatically possessed, unless they were otherwise sexually orientated. But then, the Nuns, if they be heterosexually inclined, have their Abrahamic all male ‘Animus’ focus of a patriarchal Father, Son and Holy Ghost to impregnate them, to thence birth a Beastly Moon Childe to later crucify of Solar sacrifice.

One thing for sure, many a Witch was wise in this practice, who dallied with spirits conjured out of a Grimoire; wherefore explaining why the Fantasia entities listed in the Playgirl Grimoires are all Sorcerer Apprentice male of an ‘Animus’ fixation.

This isn’t to say male practitioners did not practice Seiðr; the difference being, a heterosexual male practitioner was not possessed by a female spirit; for being a man, he otherwise entered her, to thence ride as his ‘Anima.’ Whereupon, of a symbolic depiction, you have pre-Christian rock carvings of male figures sporting erections, mounting mares.

This was not literal, since, it is obviously bloody dangerous, let alone nigh impossible. The symbolism refers to a male practitioner interacting with a female spirit, symbolised as a mare, who represents the power of trance; wherefore you have Odin riding the (eight compass points) eight-legged-mare, Sleipnir.

Seere, would indeed be symbolised as a (Animus) male entity for a heterosexual female practitioner of Seiðr, who is ridden into ecstasy; whereas for a heterosexual male practitioner Seere is (Anima) female, who he rides into trance. If the practitioners are otherwise sexually orientated, then the internal dynamic changes in accordance with their preference. But what is interesting, is that there are no historical examples of any Playboy Grimoires listing only female spirits.

Should you reverse the classical all male Playgirl pantheon of the Goetia, then Seere is a Mighty Princess, and powerful, under AMAYAMONA, Queen of the far Eastern steppe of the shamans.

She appears in the form of a beautiful woman, riding upon a winged horse like Pegasus, or to otherwise appear as winged Centauress. Her office is to go and come; and to bring abundance of things to pass on a sudden, and to carry or re-carry anything whither you would have it to go, or whence you would have it from. She can pass over the whole Earth in the twinkling of a singular seer eye.

Wherefore, she gives a true remote viewing relation of all sorts of theft, and of treasure hid, and of many other things. She is of an indifferent good nature, and is willing to do anything which her master desires of her. She governs over twenty-six Legions of Succubae. And Seere’s Valkyrie Seal is to be meditated upon, before conjuring her within a lucid dream of Seiðr practice.

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VALKYRIE SHIELD MAIDENS RIDING A RUSSIAN UFO

Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 8, 2015 by FAUSTUS CROW

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The Valkyries of Norse mythology are described as being the handmaidens of the shaman God Odin, whose name is very likely derived from the Altaic fire spirit called Odqan. The name of Odqan means, fire king: Od, being fire, which is symbolic of ecstasy; this altered state of consciousness induces an experience of an inner light or fire within the head of the Qan/Khan/King, shaman. This is also communicated by the name of Odin, which means Od: ecstasy/light, In: master, whose shaman character, riding an eight-legged-Night-Mare called, Sleipnir, later influenced the creation of Doctor Who riding his TARDIS.

The inner fire is associated with the Valkyries, who also have a symbolic affinity with horses. The Valkyries are very similar of nature to the Tibetan Buddhist (Succubae) Dakinis; wherefore some Siberian shamans describe their (Succubus) spirit wives as being Valkyries, since their culture had been in part influenced by the Viking Rus, who had made their exploratory way into the far North; whereby their title of the Rus, eventually gave rise to the name of Russia.

However, going by the Norse name of Odin, which means the same as Odqan, it appears that the Vikings were returning back to the mythic birthplace of their deity, who was essentially a deified shaman from the Altai region of Siberia.

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Some of the UFO fraternity may see Odin as being an alien, who was around when the frost giants succumbed to a great flood, during an interstellar conflict. Although you could otherwise imaginatively conjecture that he might have been a wise elder who was privy to a technology of a lost civilisation, which may have experienced its own industrial revolution.

Said civilisation was eventually wiped out by a comet striking North America, around the time of the last Ice Age, when the giant mammals disappeared off the face of the Earth.

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As for Odin’s female counterpart, she was the Goddess of sexual love called Freyja, who is also described as being the mistress of the Valkyries and Witchcraft (shamanism) as well as Cats. She is depicted in a medieval wall painting found in Schleswig cathedral in Germany riding what looks to be a Siberian Tiger.

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She is also shown alongside an image of the Goddess Frigg riding a broomstick in the same cathedral. Freyja’s Valkyries are also described as being ‘shield maidens,’ since they offered (Amazon) protection to chosen (shaman) heroes, which is also tied up with the Northern European tradition of women making the shields for their warrior men folk; whether this was literally the case, or being primarily symbolic, is a case of conjecture.

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There does seem to be a connection between the Norse myths and Siberia, which is summed up by the mythic descriptions of Odin, who is very much akin to a Siberian shaman; this is especially the case concerning the Altai.

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When looking at the Altai region of Siberia, its influence was far reaching; for example, an archaeological expedition of Novokuznetskiy pedagogical institution discovered a burial mound in the Tashtagolsky district of the Kuznetsk basin, which dates back to the VI century B.C. (The Bronze Age).

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The expedition was headed by the associate professor of history Yuriy Shirin who conducted the dig in the district near the river Mrassu, which was divided into squares; shortly thereafter archaeologists found the burial mound.

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Professor Shirin had carried out a lot of expeditions in the Kuznetsk basin region, but it was the first time he had discovered a burial mound. According to his words the burial mound is similar to the burial mounds, which are also found in the Khakasia and Altai regions of Siberia. He also mentioned that it is an obvious mix of their probable shared cultures.

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As an aside of sorts a most intriguing circular object, looking like an ancient shield was discovered by a coal mining company called Kuzbassrazrezugol in Siberia’s Kuznetsk Basin, during excavation work. However, there is a mystery of how a shield like object became buried 40 metres under the ground. Archaeologists were called in to examine the man-made looking object.

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An excavator going by the name of Boris Glazkov, who discovered the shield like find, said: “I have to say it wasn’t hard to see as it was really distinctive and large. I’ve never seen anything like this object, which is obviously man-made, here in the middle of nowhere before. It is a real mystery.”

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A colleague of Glazkov, Arthur Presnyakov, remarked: “There were actually two similar objects, but the first one broke as it was being pulled out of the ground by the excavator bucket. We thought we saw something sure, because it broke into pieces, but then when the second one appeared we stopped work and carefully removed it from the bucket.”

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The shield like object has a diameter of around 1.2 metres; and with all the dirt still encased on it weighs roughly 440lbs, or 200 kilograms; when cleaned up it will probably be far easier to carry, unless it was originally a heavyweight ritual item.

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The curious thing is, the shield like object was found buried 40 metres underground, deeper than that of mammoth bones, which have been discovered in the same area at a depth of 25 metres.

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Such an anomaly doesn’t sound too strange now, since archaeology has to be rewritten after the discovery of Göbekli Tepe, which has been dated to 11,600 years ago, seven millennia before the Great Pyramid of Giza. However, as always, many are attempting to fit Göbekli Tepe into a Biblical paradigm just as the UFO fraternity see the Russian shield as being an extraterrestrial flying disk created by aliens.

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One has to wonder if the discoveries of ancient finds, which knock the Biblical stranglehold over history is being duly buried under the morass of the UFO mystique and its numerous alien interventions. Whenever an anomaly is discovered, or should I say, an artefact, which cannot be fitted into the established archaeological model surrounding Biblical Mesopotamia, it is promptly hijacked by the UFO cultists looking for extraterrestrial Angels.

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Although, the Norse myths do communicate that the Valkyries did fly through the astral sky as void-going-women, far-travelling through inner space, just like the Tibetan Buddhist Dakinis, whom are conjured into the lucid dreams of Yogins practicing dream Yoga.

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Should the object not be a fake, it could possibly be an ancient shield of similarity to others, such as those of far later design, which is almost perfectly circular; if so, you can forget about Göbekli Tepe, since you would have a shield that should not exist, which had been used when the great mammals were still walking the Earth.

Humanity were supposedly living in caves at the time who no doubt considered themselves to be ant or snake people. But then again, they may have taken refuge in the caves in order to survive a catastrophe, some of whom may have created underground cities, like Derinkuyu in Turkey, where you also find mention of an ancient King called Yima, the Hindu’s and Tibetan Buddhist’s call Yama, the Norse to know as Yimir of the Ginnungagap.

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If the object is indeed a shield, you shouldn’t completely ignore Göbekli Tepe, since the animal motifs of Göbekli Tepe, are somewhat reminiscent of Scythian animal designs, of similarity to the tattoo’s found on the frozen Altai mummies of Pazyryk; maybe it indicates a continuum of an ancient tradition, which was probably their own version of writing, involving intricate animal forms as letters, forming words; whether depicted in stone or as tattoos.

One also should not forget the Chinese mummies of the Tarim basin along with their conical hats and ritual broomsticks, which have been genetically traced back to the Altai.

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Anyway, the archaeologists will probably reveal that the object is in fact perfectly round Mammoth dung, whose giant depositor did a quick sprint after its expulsion, when catastrophic climate changes occurred, which initiated a great inland flood hitting the Altai along with bringing about a mass extinction event of a prior Ragnarok; wherefore no more frost giant Mammoths and other great mammals.

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Russian geologists discovered the biggest inland flood had occurred in the Altai, at the fringes of human occupation in Siberia, which no doubt scattered their tribes into Europe, China, India, and across into America as well as the Middle East. Hence the ancient British, Eurasian’s, Finns, Basque’s, North Chinese, Mongolian’s and Native American’s all share the same genetic cradle of a Siberian locale ranging from the Altai to lake Baikal, amidst whose Ginnungagap waters is a Midgard island called Olkhon, found betwixt the Northern ice sheets and the fiery Volcanic fields of the South.

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The geneticists have determined that many of the genetic lineages of these peoples can be traced back to a Siberian peoples of the Ket who originated from central and Southern Siberia. The Ket language has also been linked to the Na-Dené languages of North America in the Dené–Yeniseian language family. Some researchers even believe that the Sumerian’s were possibly an Altai colony, since there are ‘odd’ language similarities between the Siberian’s, and the Sumerian’s, who also remembered a… great flood.

But the tangled weave will probably be ever fathomed when a time travel technology is developed, whose time travelling archaeologists, riding sentient time machines called Valkyries, will at times make a Doctor Who mistake by leaving an anomaly behind, or to have done so, by TARDIS design.

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