Archive for Tantra

SUCCUBUS DAKINI LUCID DREAM YOGA

Posted in Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 25, 2015 by FAUSTUS CROW

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A Dakini is a female entity of dreams, who is known of in Tantric practice; she is of similarity to the European Succubus.

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There are many differing Dakinis; each of whom is unified with various alternate-selves (Avatars) of the Yogi, he can assume within (alternate reality) lucid dreams, which are empowered by the conjured Dakinis.

Whereupon, the same perspective can be applied to the Succubae, when to conjure them out of a grimoire.

The Succubae can be seen as governess’s who have governance over a myriad number of dream worlds, likened to beads threaded by a superstring.

Although a Dakini is similar to a Succubus, she represents far more as a feminine (Anima) embodiment of enlightened energy within the watery domain of the dream.

This indicates that the phenomenon of the Succubus can be better understood, of Old Hag Syndrome dream visitations, when looking into what the Dakini represents. In the Tibetan language a Dakini is known as a Khandroma, which translates as the following: ‘void going woman, she who traverses the sky, she who moves in space, sky walker, or sky dancer.’

The Dakini is called upon of conjuration when practicing dream yoga, which is orientated towards attaining lucid dream contact with her; wherein she is akin to a Genie of Succubus wiles, who initiates the conjurer into the associated knowledge, of which she personifies as a knowledge/wisdom holder.

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A Dakini is associated with the arousal of the Kundalini Shakti, of which she is an energetic fluctuation, of its fire snake energy, as it arises along the spinal column of the practitioner.

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As the Kundalini fire snake arises along the spine, its feminine energy of Shakti activates the seven (planetary sphere) Chakras out of which the Dakinis emanate of differing (seal) expressions. Their various dream (metal) characters pertain to what they individually personify of inner knowledge.

A Dakini is so central to a Tibetan Buddhist practitioner attaining full enlightenment as a Buddha, that she appears in a Vajrayana formulation of the Three Jewels Buddhist refuge formula, which is known as the Three Roots.

A Dakini commonly appears as the Dharma protector, sensuously sitting astride the lap of a guru and Yidam, with who she copulates of a sacred union.

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But Judith Simmer-Brown, who is a Professor and past Chair of Religious Studies at Naropa University, as well as being a prominent Buddhist scholar, points out:

“The Dakini, in her various guises, serves as each of the Three Roots. She may be a human guru, a vajra master who transmits the Vajrayana teachings to her disciples and joins them in samaya commitments. The wisdom Dakini may be a Yidam, a meditational deity; female deity Yogas such as Vajrayogini are common in Tibetan Buddhism. Or she may be a protector; the wisdom Dakinis have special power and responsibility to protect the integrity of oral transmissions.” 

As a key Tantric figure the Dakini can also be found in other forms of Tantric Buddhism, such as the Japanese Shingon school, from where she was disseminated into Japanese culture, who evolved into Dakini-ten; whereby becoming inextricably linked with the Kitsune (Succubus) of ‘erotic iconography.’

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The origins of the Dakini had originally stemmed from ancient shamanistic practices, such as that of Siberian shamanism, whose shamans derive their powers from their conjured spirit wives.

The spiritual focus upon the Dakini continues to this day as a part of Indian folklore; though generally in wrathful forms, which of a meditation practice remains a part of Hindu Tantra.

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Although the Dakini appears in Hinduism and within the Bön tradition, Dakinis occur most notably in Vajrayana Buddhism, who play a particular role in Tibetan Buddhism.

The Tibetan Dakini, is generally seen to be of a highly erotic form, of infernal looks; her nature is volatile of wrathful temperament whose abode of a haunt is often that of the charnel ground.

She initially manifests as an Old Hag Syndrome ‘Nightmare’ until the practitioner learns to overcome his fear to then ride her as his Mare of the Night; whereupon she will then become as his spiritual Muse of an inspirational (Tulpa) thought-form, who guides him into the dream to make lucid of awareness.

Dakinis are energetic (Tulpa) beings of (archetypal) Succubus form, who are erotically evocative of the microcosmic movement of energy (information) within inner space.

In this context, the macrocosmic sky of space indicates Shunyata, the insubstantiality of all phenomena, which, at the same time, represents the dream-time Dakini potentiality for all her possible (planetary sphere) Succubus manifestations.

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DOCTOR DOOM CONJURES GOETIA GIRL VAPULA OORO MUNROE, SHE’S SUCH A STORM

Posted in Art, Chaos Magic, Comics, Cosplay, CREATIVE WRITING, Discordianism, Film, Goetia Girls, Horror, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 6, 2014 by FAUSTUS CROW

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Within the rancid skull of castle Doom, surrounded by the Eastern European iron forest of Latveria, the black magician Doctor Victor Von Doom made his way down a shadowed spiral stairway of ancient crumbling stone into the castle’s ritual chamber.

Within the ritual chamber of an infernal mind laboratory, Doom’s chief Tulpa engineer of the necromantic arts was apparently knitting together a Tulpa for Doom’s Solomonic spectral army of demonic slaves; or so Doom thought.

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Doom boomed out of an echoing voice as he entered the cavernous laboratory, which looked more like an arcane art studio, “I hear that you have accomplished the deed I set forth for you, doctor Frankenstein.”

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Frankenstein turned around from the canvas slab to which was bound a knitted together exquisite corpse of an oil painting, whose layers of paint involved the writing of intricate sigilic formulae around the Moon phases. Over these twenty eight layers of tattooed skin, the final painting was done.

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The finished work of ritual art was then covered by a silk black cloth depicting a copper coloured inverse pentagram.

“Yes, indeed, I have achieved what you asked of me, and far more.” Doom stared at Frankenstein; “more you say, most intriguing. But, I will be the judge of that. I desire to see this demonic grimoire Tulpa, I commissioned you to create, so that I will be enabled to control the weather systems of the whole world via its Necronomicon conjuration. With this catastrophic power I will destroy the old world, in order to initiate the return of the Golden Age under my New-World-Order dominion. Now, show me my new slave!”

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“Of course.” Frankenstein answered, as he pulled away the black silk cover revealing a life size painting of a most beautiful African woman. Doom was at first taken aback; “What in the nine Hell’s is this? I was expecting a classical death metal demon of medieval temperament. This creation is just a modern day glamour pin-up of Ooro Munroe. She looks like a Marilyn Munroe peroxide blond topping Halle Berry’s head; no different to an explicit mandala jerk off photo shoot for capitalist Playboy. If I conjure this, whatever it is, I will be thrown out of the OTO.”

He started to laugh, which is a bit of a rarity to say the least; hardly anybody laughs in medieval Latveria, least of all, grim Doctor Doom.

Frankenstein then said; “You don’t quite understand, Doom, she is the very essence of Ooro Munroe. This knitted together exquisite corpse is that of Munroe’s captured quintessence, now bound into planetary metals suspended in oils, to have accordingly coloured of dream sorcery, whose secret mantra name is Vapula.”

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Doom inquisitively looked at Frankenstein through the skull eye sockets of his shiny metal mask; “the quintessence of Ooro… her secret name is Vapula? explain!”

Frankenstein answered; “when you meditate upon the painting you repetitively intone the mantra name of Vapula; while to intermittently visualise her seal. This will enable you to initiate a hypnagogic state of trance. When you achieve the trance state, you can then evoke Vapula amidst your triangle of art imagination, which will then lead to a sixth sense lucid dream conjuration of her Succubus essence; whereupon you can then fully engage with her sensory reality, involving all of your inverted five pentagram senses.”

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Doom looked very perturbed, almost nervous; sweating even, to itch under his steamed up armour; “Succubus? What do you mean by the usage of this loaded term?”

Frankenstein wirily smiled to himself; “well, it’s somewhat self explanatory isn’t it doctor. You have to introvert your sexual impulse of a an emotional charge so that you can bring her to electrifying orgasmic life within your spun electron dreams. Wherefore Vapula then becomes as your most loving Frankenhooker mind-doll servant, who as a microcosmic Succubus Genie will service your every megalomaniac whim upon a macrocosmic synchronicity.”

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Doom shook his head; “I should have had you thrown into the deepest pits of the netherworld, long ago, Frankenstein, which is still on the Tarot cards.

The activation of this Tulpa requires my… ” Doom then nervously coughed, attempting to continue; “my sanctified Dr Strangelove seed of machismo prowess, which has to be kept eugenically pure at all costs. I cannot allow for this. I commissioned you to create a real Biblical demon; all bristling muscles, jagged spikes and serrated horns, or at the very least looking like one of Aleister Crowley’s phallic illustrations, or that of a morose H. R Giger Lovecraftian beast of writhing tentacles, siring Biblical end of days slaughter, when I desire it.”

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Frankenstein sighed in exasperation; “Your fixation upon the classical Abrahamic symbolic paradigm of a branded mind-set, will invariably lead to you becoming upended by conjured Incubi, who will duly possess your Biblical anus through your rusting ritual magic armour. But, if that is your indoctrinated Golden Dawn leaning, go right ahead of an OTO sexual orientation. Do what you wilt, as the saying goes. But you do realise that by conjuring the Succubus Vapula, she will empower you to assume the alternate guise of the Black Panther, within a lucid dream as your Buddha Avatar, and in so doing, you can access all of his abilities, when you bind her to your iron will.”

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Doom went silent for a moment, pondering the delicious possibility of entirely dominating Vapula and via her total subservience, she will enable him to acquire the power of the Black Panther.

Then Doom said; “this word, Vapula is derived from Vapulate, which means to flog, beat, whip or to strike, which has now perked up my sadomasochistic tendencies to dominate her. Tell me more about this Succubus, Vapula.”

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Frankenstein then explained; “Vapula is the Sixtieth Goetia Succubus, who is otherwise known as Naphula. She is a great, mighty and strong Duchess of the seventh dimensional planetary sphere. She at first appears in the form of a black Cat with Bat’s wings or that of a Sphinx, before assuming the exquisite form of Oroo Munroe, who, as you know, is also called Storm.”

“Her Witch office is to make her master knowing in all handcrafts and professions; also in philosophy, and other Fantastic Four DARPA sciences, such as those of Nikola Tesla, via whose X-Men science we now have the Avenger weather control technology of HAARP, she to reveal all about of remote-viewing.”

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“She governs over thirty six legions of Wakanda Succubae who emanate from Lilith’s Harem; and her seal or character, is thus depicted in her two-dimensional painting of a spirit repository, upon which you meditate in order to conjure Vapula into your three-dimensional lucid dreams.”

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Doom again went silent of pondering thoughts, before saying; “Vapula at first assumes the visionary form of a Witches Pussy Cat or that of an Egyptian Sphinx, you say; interesting. Tell me more about why she assumes the form of a feline Sphinx?”

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Frankenstein answered; “The word Sphinx, actually comes from the Greek, meaning, ‘to squeeze, to tighten up.’ The name is a reference to the factual observation that the hunters for a pride of Lions are the Lionesses, which kill their prey by strangulation, biting the throat of prey and holding them down until they die. However, the utilised symbolism, is that of an occult blind, which refers to an experience, termed as the Old Hag Syndrome or that of the Bedroom Invader. The Old Hag Syndrome usually occurs when a dreamer experiences sleep paralysis at the point of hypnagogic ingress into the dream, who is then assailed by a predatory Succubus. The presence of the Succubus can inspire intense fear in the dreamer, who will sense he is being strangled by his own nighmare made manifest, which could potentially lead to his physical demise.”

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Doom then interjected; “she sounds really dangerous, I like her!”

Frankenstein continued; “yes, she can be highly dangerous to the uninitiated who do not know her riddle. But when the fear is otherwise negated by the prior ritualistic Tantric introversion of the sexual impulse, the strangulation of the reptilian brainstem transforms its self into a erotic caress of a feminine hand to the back of the head. This then initiates a shift of consciousness towards the ‘hall of records’ cerebellum, where the dreamer consciously accesses the dream, who will then encounter the Succubus as his informing lover.”

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Frankenstein further related. “In Greek mythology, a Sphinx is represented as a daemon with a head of a woman, the body of a Lioness, having the wings of an Eagle, you could otherwise see as Gryphon’s wings, as well as sporting a serpent-headed tail. This symbolic formula refers to the arousal of an energy along the spinal column, which the adepts of Yoga call the Kundalini Shakti. The Kundalini energy is seen to have a female source. Whereupon you have a woman, who is termed as Shakti. This energy is often aroused by a visitation of a predatory Succubus, the Hindu, Buddhist or Tantric calls a Dakini.”

“Wherefore you have the motif of a Lioness, who will initiate an out of body experience, which is symbolised as the wings of an Eagle or Gryphon. The out of body experience, which is initiated by the visitation of the Sphinx will allow the dreamer to travel through time via his quantum dreams. This is the reason why H.G Wells had a Sphinx depicted upon the front cover of the first publication of his novel, entitled, The Time Machine. The Kundalini is also known as the fire snake; hence you have the serpent-headed tail of the Sphinx.”

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Doom lustfully smiled behind his mask, saying; “I am most impressed indeed. I think I will have to commission you to knit together more of these Succubae Mind-Doll’s for my spectral army, Frankenstein. In fact, my spectral army will be entirely comprised of Succubae. In the meantime, I will have my Latverian minions collect the grimoire painting to place in my bedroom, this very night of a much looked forward to conjuration. Oh! by the way, can I flog the painting with my Cat of Nine tails, while I masturbate…”

Doom to Freudian slip, who then had a hacking cough, to rectify of continuance; “I mean, meditate upon Vapula’s image, while whipping her essence into total submission to my divine will?”

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Frankenstein answered; “if it be your visualisation pleasure to do so of a Spirit Chain ritual, go right ahead, whip away, to your dark heart’s beating content.”

Doom stuck his mask nose up into the air of a perceived superiority to then flamboyantly turn away of dramatic sweeping cloak, leaving Frankenstein alone. Although, he wasn’t quite entirely by himself.

Frankenstein was surrounded by his necromantic comic art works of erotic knitted together Mind-Dolls. He waited until Doom was entirely out of psychic sight and clairaudient earshot before lighting up a Camel cigarette, who then merrily sauntered over to a hidden alcove, within which was another covered painting.

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Frankenstein whipped off the cover to reveal a life size painting of a naked female version of Doctor Doom.

Frankenstein knowingly smiled, saying to himself; “when I conjure you amidst my lucid dreams, my dear knitted together tin girl, of a dark delight, playboy Jupiter sphere Succubus; I will assume the guise of Doctor Doom. And in so doing, I will acquire all his abilities and powers, having total control over a spectral army of Goetian Succubae, who be all grimoire comic Marvel superheroines to erotically conjure amidst my triangle of art. Whereby I will attain dominance over the entirety of the Marvel universe, when I assume the Avatars of all the Marvel superheroes, who are empowered by their corresponding superheroine Succubae.”

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Frankenstein to have continued; “but I will not stop there; after conquering the Marvel universe I will move onto the superheroine Succubae of the DC universe and that of others myriad, of a multiverse, to fuck my way through, to rule over.”

Suffice to say, castle Doom was soon renamed castle Frankenstein; but at least he knows how to really Heyoka party of imaginative conjurations, let alone laugh away the moroseness of the indoctrinated medieval mind-set of the Lilliputian Latverian’s.

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GOETIA GIRL FURFUR, SHAMAN SPIRIT REINDEER OF SIBERIA

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 28, 2014 by FAUSTUS CROW

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Many a child has been hypnotised by the Christmas story of Rudolph the ‘red’ nosed Reindeer, which of a tale the Thirty-fourth Succubus of the Goetia called Furfur, refers to, who initially manifests amidst the Triangle of Art imagination as a Reindeer with a fiery ‘red’ tail. When a bright eyed child to grow up, becoming as a square headed adult, Rudolph, becomes as a mere fable, just a childhood recollection of opening up branded presents around a brand of a Christmas tree. But at a far deeper level of the collective unconscious the Christmas tree alludes to the multiverse world tree of the horned shaman.

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The multiverse world tree in old Norse was called Yggdrassill, upon which the Norse shaman deity named, Odin hung himself into trance, so that he could travel the tree of worlds from within his lucid dreams. The Saxon’s knew Odin as Woden, who the Christian’s later equated with St Nicholas, or to otherwise castigate as being Old Nick of a fiery ‘red’ horned Devil of Yin and Yang horns, who as a Reindeer horned shaman; when attaining trance ingress, Yin and Yang becomes as the Tao of a Sahasrara crown.

St Nicholas of an Old Nick or Santa Claus, whom was originally Odin/Woden indicates an ancient shamanic legacy from out of North Central Asia unto Siberia. A Siberian shaman would recognise Furfur as a shamanic power animal, which in the Goetia is a powerful Great Countess of the fifth planetary dimensional sphere of volcanic Mars, who rules over twenty-nine legions of Succubae.

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She initially manifests as a Reindeer with the breasts and arms of a woman, having Bat-like Nightgaunt wings, which allows her to carry her master throughout the myriad parallel universes of the multiverse world tree; for she initiates an out of body experience.

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Her tail, as mentioned, is often described as being on fire of arcing electric sparks, whom speaks with a seductive voice.

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She then assumes the form of a most beautiful Reindeer horned woman, who will willingly make love to her master as his spirit wife within his lucid erotic dreams, whom is highly versed in love magic, stirring shamanic visions of Siberia.

She can also raise lightning, thunder and great tempestuous electrical storms against her master’s enemies, whether they be temporal or spiritual. When commanded, she answers, both of remote-viewed secret and also of divine matters.

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She will initiate surrealistic visions until she is compelled into the Triangle of Art vision of her master; though such visions will be inspiring of shamanic artistry. Her name of Furfur, of mundane meaning, and that of an occult blind, means dandruff, indicating an experience of itching all over the body, like a prickly heat. However, the name Furfur refers to her bestowing the ability of generating an internal heat, which is termed Tummo in Yoga.

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You can thereby gauge that such practice is integral to the shamanic practices of the far North, which enables a horned shaman to survive the freezing conditions, under the pole star crowning the neural-net world tree, of his axis-mundi spinal column. The practice of which, as previously noted, initially initiates a sensation of a dandruff itch all over the body. This initial phase is to do with the shedding of the ego, which then leads to a sensation of growing ‘fur,’ as if there is a ‘fiery’ energy pouring out of every pore of the skin, before the shaman senses that his body has become as pure light.

A 1982 study of the physiological effects of Tummo had been conducted by Herbert Benson who is an associate professor of medicine at the Harvard Medical School and president of the Mind/Body Medical Institute at Beth Israel Deaconess Medical Centre in Boston. He firmly believes that studying advanced forms of meditation, “can uncover capacities that will help us to better treat stress-related illnesses.” He extensively studied Indo-Tibetan Yogis in the Himalayas and in India during the 1980s.

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Benson’s research was conducted in Upper Dharamsala in India. Benson found that the subjects under investigation, being three monks, exhibited the capacity to increase the temperature of their fingers and toes by as much as 8.3 °C.

In a 2002 experiment reported by the Harvard Gazette, which was conducted in Norseman Normandy, France, two monks from the Buddhist tradition wore sensors, which recorded changes in heat production and metabolism. Another 2013 study by Kozhevnikov and colleagues showed increases in core body temperature in both expert meditators from Eastern Tibet and Western non-meditators.

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The fiery tail of Furfur symbolically refers to the activation of the Kundalini Shakti to arise from the base (perineum) Chakra along the spinal column of the practitioner, whose shamanic trance practice of Tummo, can be utilised for healing purposes as well, which involves the shaman directing his internal (fire) heat towards an afflicted area of a patient.

This inner heat is also experienced during intense lovemaking where you will sense yourself entirely melding with your partner of Tantric union. The technique was also utilised by the (Norseman) Berserker warriors, which enabled them to attain great (martial) strength via ecstatic (howling/raging) shaman rites, when they had conjured up their Valkyrie spirit wives within their visions. Furfur will inform her master about such shamanic secrets, when to conjure her within his Siberian lucid dreams.

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However, If you be otherwise inclined of a traditionalist sexual orientation, to be enamoured with Crowley’s Biblical Goetia, you can evoke Furfur as an OTO Rudolph the red nosed Hart, who bisexual Crowley viral-meme illustrated as being a phallic fellow; I’m sure he would be most pleased indeed to arouse your indoctrinated perineum to set alight of a continued patriarchal brainwash.

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But should you be rebellious, evoke a Succubus tonight, to keep the Abrahamic exorcist at bay, whose monotheistic egregore seeks to possess your anus with a limiting belief system of mind-control; wherefore negating your shamanic legacy, through fearing a Reindeer Horned shaman as a Devil!

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GOETIA GIRL HAAGENTI OF SEXUAL LUCID DREAM ALCHEMY

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 22, 2014 by FAUSTUS CROW

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The Forty-eighth Succubus is Haagenti. She is a President, appearing in the Form of a Mighty Buffalo with Gryphon’s Wings. This is at first, but after, at the Command of her master she putteth on Human Shape as a most beautiful woman wearing horns atop of her head of a crown. Her Office is to make her master wise, and to instruct him in divers things; also to Transmute all Metals into Gold; and to change Wine into Water, and Water into Wine. She governeth over 33 Legions of Succubae, and her Seal is to be meditated upon.

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Haagenti is a composite name, which comprises of Haag and Enti. The word Haag in Dutch means den, which can also refer to a cave. However, you also have Hag, which refers to a Witch and hypnagogic trance, where an individual experiences sleep paralysis prior to being visited by a female entity; while Enti in Finnish means fly, which is a reference to an out of body experience. In ancient times, flies were seen to be the spirits of the departed. You might consider this symbol crunching to be pushing the envelope of believability. But, there are other symbolic formulae of a Haagenti code, which fits together of a jigsaw puzzle.

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It is commonly believed that Haagenti manifests as a Bull with the wings of a Gryphon by patriarchal occultists due to their sustained religious indoctrination. However, the symbolism of Haagenti very likely refers to a Lamassu. The Lamassu is a Sumerian protective deity, which was later heavily adopted by the Assyrian’s.

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The Lamassu is often represented having a Bull or Lion’s body, having Eagle’s wings, with a human head. The Lamassu is portrayed as a female deity; whereas a less frequently used name is Shedu, which refers to the male counterpart of the female Lamassu. You could even theorise that Aleister Crowley’s LAM entity is derived from the LAM-assu.

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In order to understand what the Lamassu and in turn Haagenti represents you will have to go much further back into time to another locale, where you will find a cave painting in the Lascaux caves, which are located in France, near the village of Montignac in the Vezere Valley. They became famous when numerous Palaeolithic cave paintings were discovered adorning their walls. These works of art, portray realistic portrayals of a variety of large animals, which are estimated to be as much as 20,000 years old if not far older.

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One of the cave paintings depicts a pregnant female Bison next to which is a bird headed shaman who appears to be falling backwards with his arms spreading out.

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The shaman has an erection, which is indicative of erotic trance. Next to the bird headed shaman is a staff topped by a bird head, whose symbolism refers to an out of body experience.

The symbolism of the female Bison is an ancient link to the Lamassu and Haagenti, whose Eagle/Gryphon wings refers to the ecstatic out of body flight of a bird headed shamans (Enti) spirit.

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You could conjecture that the bird headed shaman of the Lascaux (Haag) cave is being visited by a (Hag) Succubus whom is the spirit of the female Bison, which is manifesting in human, form within the trance vision of the shaman.

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The Hag visitation of the Succubus is initiating the shamans ecstatic (Enti) flight out of his body through her (Vesica Pisces) vaginal stargate. (This will not sound too odd when to look into the shamanic experiences of Dr John C. Lilly, who spoke of accessing inner (vaginal portals) doorways, which allowed him to attain ingress into alternate realities.)

The shaman in question is probably intending to attain the virility, strength and power of a male (Shedu) Bison via his (microcosmic) trance union with the (Lamassu/Haagenti) Bison mother, whom he has made pregnant, whereby facilitating a (macrocosmic) successful hunt, whose hunters were highly versed in observing ensuing (associative) synchronicities, they probably experienced as signs, portents and omens.

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Should you consider the above conjecture to be rather strange, all you have to do is to is to remember, White Buffalo Calf Woman (Lakota: Pte Ska Win/Pteskawin/Ptesanwi) who is a sacred woman of supernatural origin. She is central to the Lakota religion as the primary cultural prophet. Oral traditions relate that she brought the ‘Seven Sacred Rituals’ to the Teton Sioux.

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The erotic trance erection of the bird headed shaman was later symbolised in Alchemical terminology in regards to changing water into wine. The symbolic usage of wine is a coded reference to emotional ecstasy, which has been transmuted from a base emotional state, associated with water. This is further emphasised in regards to transmuting lead of a base emotion into gold of an ecstatic emotional state, which is attained via shamanic trance ingress into the dream. The realm of the electron dream is symbolised in Alchemy as the Anima Mundi, whose bio-photon fluctuations manifest as Succubae. The shamans ingress into the feminine domain of the dream is termed in Alchemy as the ‘sacred wedding.’

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The motif of the ‘sacred wedding’ is referred to in highly coded form in the Gospel of John, whom describes a wedding that Jesus attended. As the story goes, when the host of the celebration unexpectedly ran out of wine, Jesus performed his celebrated Goetes ‘miracle,’ in which he turned water into more wine. There are many whom believe this literally happened, to have taken it further by attempting to drink petrol, they believe has been transformed into pineapple juice by an insane pastor. The utilised symbolism of transmuting water into wine is not literal. What it is actually describing is the arousal of a shamanic state of erotic trance where the base emotion of water/lead is transmuted into wine/golden ecstasy.

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This is when certain practitioners of Yoga experience the arousal of the Kundalini Shakti (fire snake) the Kalahari Bushmen of South Africa term as the Num. The aroused Num then hits the back of the head, which initiates trance, the Bushmen call Kia. The experience of the Num hitting the back of the head is similar to that of experiencing an orgasm; whereupon a male may experience having an erection.

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As an aside of sorts, there are aboriginal Australian cave paintings, which feature scenes of ‘unparalleled eroticism’ that were blamed for an archaeologist’s unwanted bird man erection during a lecture to his female students. Archaeologist Bruce Byrce, a professor at the University of Hong Kong, was giving a ‘Watery’ talk on the series of drawings found upon the cave roofs amidst the Mad Max wilderness in Arnhem Land in Northern Australia, when a particularly saucy ‘Wine’ slide gave him an unexpected bird man erection.

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Professor Byrce reportedly blushed ‘Red’ as a grape, who bumbled over a series of ‘Watery’ facts to Dionysian lose his ‘Wine’ track. Bryce then attempted to stand at a weird 33 degree angle to the female audience of Maenads in an attempt to mask his throbbing bird man staff.

Bryce honestly related; “I had been excavating the site for the last six months, looking at the sexy cave paintings every day. I didn’t once get a semi that whole time, so imagine my surprise when I went full salute during the lecture.”

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One of the sections of artwork, the archaeologists had excavated depicted three naked copulating couples. The cave paintings have been dated to 28,000 years old, making it one of the oldest Tantric scenes in the whole world, which still has the emotionally charged Haagenti power to transform water into wine, lead into gold. But, if you see such works of art to be mere pornography due to your watery religious upbringing, where sex is considered to be the first sin, rather than leaden ignorance, you will never understand what Haagenti represents of sexual alchemy.

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What Haagenti communicates is quite simple; what turns you on sexually, of symbolic stimuli, can be introverted of an ecstatic (Wine) emotional state in order to empower trance ingress into a lucid dream; for it is your emotional ‘charge,’ which ‘spins,’ your electron dreams into (Gold) lucidity. Wherefore erotic works of art covering cave walls were utilised for this purpose by ancient shamans.

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This most ancient technique is easily overlooked by those who have forgotten how to dream within their square minded dens, whom believe that such imagery is just an expression of pornographic hedonism.

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The sexual imagery was otherwise ‘spiritualised’ by those who have not forgotten how to dream. This is achieved by internalising the sexual impulse, which has been aroused by the power of art; whereupon enabling a shaman to attain an awakened state within the dream, where a two dimensional image of a Succubus is experienced as a three dimensional sensory reality.

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SUCCUBUS SPIRIT WIVES OF THE YAKUT SHAMAN

Posted in Alien, Art, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 7, 2014 by FAUSTUS CROW

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Like many of the indigenous peoples of Siberia, the Yakuts practiced shamanism, who originally lived around the Olkhon and the region of Lake Baikal.

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But during the 13th century they migrated to the basins of the Middle Lena, the Aldan and Vilyuy rivers under the pressure of the rising Mongols, where they mixed with other Northern indigenous peoples of Russia, such as the Evens and Evenks.

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By the 1820’s almost all the Yakuts had been forcefully converted to the Abrahamic faith of the Russian Orthodox church, although they rebelled against this onslaught in order to retain their ancestral-self-identity.

However, during the late 1920’s through the late 1930’s, the Yakut people were systematically persecuted, when Joseph Stalin launched his collectivization campaign. Hunger and malnutrition resulting from the period of persecution resulted in a decline in the Yakut total population from 240,500 in 1926 to 236,700 in 1959.

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By 1972, the population began to recover. The Yakuts presently form a large plurality of the total population within the vast Sakha Republic.

The Sakha Republic is one of the ten autonomous Turkic Republics within the Russian Federation. Even though the Yakut have suffered much under the yolk of Christianity, let alone fighting off Islam to then be hit by the Soviet regime, they still practice their ancestral legacy of shamanism; whereas the Abrahamic invaders of their land have entirely forgotten their own ancestral-self-identity.

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The Yakut shamans know of Succubae who are considered to be spirit wives. They are usually seen to be the spirits of deceased women who become Succubae.

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Although, some of the Succubae are constructed as thought-forms, of similarity to the Tibetan sorcery technique of the Tulpa.

During the 70’s an experiment was conducted by a group of Canadian parapsychologists who utilised the shamanic technique of creating a Tulpa. The experimenters successfully created a ghost, which generated poltergeist phenomena.

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The Canadian experiment was later repeated by a group of Australian parapsychologists based in Sydney, who created a Tulpa of a girl, they named Skippy Cartman, which also generated observable poltergeist phenomena.

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A shaman does likewise, who artistically creates spirit wives for specific poltergeist tasks. It is from these spirit wives the shaman derives much of his shamanic abilities, who are collectively called Abassi.

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Other spellings of the term Abassi are: Abaaht, Abasy, Abaasy or Abassy. When the Abassi sexually interact with a shaman within his lucid dreams, he knows he will soon be called upon to heal a patient.

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The Abassi maidens are seen to reside in an otherworldly domain called Mᾱnarikta Challan, the heaven of the spirits of ecstasy. (Shternberg 1935, p.246ff)

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However, there are darker accounts of the Abassi, which are very likely entwined with cultural sexual taboos. According to other Yakut informants, the Abassi are alleged to be the spirits of long-time deceased women who dwell near graves, or in deserted places, or to otherwise travel around as predatory Witches invading the dreams of the living.

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In these accounts the Abassi inhabit the underworld rather than a heavenly abode.

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The shamanic perspective of heaven and the underworld alludes to shifts of consciousness, which the Abassi enable a shaman to experience.

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Heaven refers to a shift of consciousness above the (cerebrum) head, where the shaman will sense he is flying up into, and through, a vaginal star barrelled tunnel into another planetary (parallel universe) sphere.

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As for the underworld, it refers to a shift of consciousness to the (cerebellum) back of the head, where the shaman experiences falling backwards into a great void before attaining ingress into the (alternate Earth’s/eternal-reccurrence) ancestral spirit world. Basically, the Abassi enable (hypnagogic) trance ingress into both (brain) domains.

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The Yakut generally have two types of shamans, the black shamans, who interact with the Abassi, are called, Abassy-oïuna, and the white shamans, whose practitioners are called Aïy-oïuna, do not engage themselves with Abassi.

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The ‘black shaman’ among the Yakut bares no comparison whatsoever to the Western counterpart of an Abrahamic Satan worshiping black magician, since shamanism is not a dogmatic religion, it is a system of techniques, which enable consciousness expansion.

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The black shaman helps people no less than the white shaman does, who occupies a higher position among the Yakut than the white shamans.

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The black shaman is very much akin to the blacksmith; hence the numerous references to iron concerning the Abassi, who are associated with an inner (light) fire, illuminating his ‘Triangle’ Of Art Imagination.

The difference between the black shamans and the white shamans is more to do with their roles in society.

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The black shamans tend to be very much like neuro-scientists, who specifically deal with the inner realms via their microcosmic dream interactions with the Werewolf Abassi maidens flying as seven Cranes.

Whereas the white shamans are the priests, whose priestly role involves conducting traditional ceremonies, which requires a sense of macrocosmic purity.

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Because the white shamans conduct ritual gatherings and ceremonies for the tribe, it is seen to be unseemly for a black shaman to do so, due to his rather chaotic sexual interactions with the Abassi.

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The concept of the Abassi is so ingrained into Sakha thought that the verb абааһы көр- (to see Abaasi) is the everyday term for, ‘to hate’ or ‘to dislike.’

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This is due to the fact that the Abassi are seen to be sexually perverse ghost girls who are said to have teeth of iron, and like vampires they thrive upon the taste of blood.

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But it isn’t red blood we are talking about here, its (wet dream) white blood, semen. Hence the normal folk greatly fear the sexually perverse Abassi, whereas black shamans cohabit with them of Tantric dream (blacksmith) alchemy.

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What the black shaman to communicate, is that the Abassi, are likened to (planetary) metal (shield/seal) mirrors.

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As spirits of the ‘mirroring’ dream, they will reflect back, what the horned shaman has to face about himself, of self hate and disliking his shadow side, in order to (blacksmith-dismember and rebuild: solve et coagula) transform, via his interaction with the Abassi, whose fire forges his iron will.

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There are descriptions of the Abassi travelling around in predatory packs of seven, which alludes to the seven (metals) planetary spheres of the (endocrine system) Chakras, as described in many a medieval grimoire, such as the Goetia, for example.

The Abassi are sometimes described as being ‘one-eyed one-armed, one-legged’ monstrous warrior Witches mounted on ‘two-headed, eight-legged, two-tailed dragons as steeds.’

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Or to otherwise manifest as dragon like creatures with a large tail of similarity to the Hindu Nagas, which would no doubt freak out a David Icke devotee.

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The reptilian motif of the Abassi refers to the reptilian brainstem, which governs over your depth of (hypnagogic) trance and dream states. The experience of (hypnagogic) trance is termed as the little death.

It is via the dream that a shaman can access the future and the past, like that of a two faced head, looking in opposite directions. Whereby the Abassi rides a two headed, two tailed dragon, likened to a time-machine.

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The Abassi enables the shaman to travel over the dream web interconnecting all things, throughout space and time. Wherefore, the steed of the Abassi has eight legs like a spider; for they are one and the same, who are the Night-Mares the shaman to ride.

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The Abassi are more akin to the Hindu version of the Succubae, called Dakinis who also have reptilian motifs associated with them, which refers to the Dakinis inducing the arousal of the Kundalini Shakti (fire snake) along a shamans (world tree/nervous system) spinal column.

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This will lead you to understanding why the Abassi are described as being one-eyed, one-armed and one-legged like a ‘column,’ who personify the world tree, the Yakut call, Aal Luuk Mas .

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In the Olonkho, which is a heroic epic tale of the Yakuts, and one of the oldest epic arts of the Turkic peoples, the Abassi are ugly and horrible man-eating beings, which alludes to the Abassi initiating a shamanic illness in prospective shamans, whose consciousness the Abassi then alchemically transmute into evolving.

The chief shaman of the Abassi is Alyp Khara Aat Mogoidoon, who is described as being a (past, present and future) three-headed, six-armed and six-legged giant with a blacksmith body made of iron. Alyp Khara Aat Mogoidoon can e seen to look lke a raging Tibetan Buddha, seated, enthroned amidst a hexagram, which of a symbol, represents sexual union. The hexagram (sexagram) is utilised to conjure up the warrior maiden Abassi, whose elemental weapons have been forged by Alyp Khara Aat Mogoidoon.

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(You also have the Circadian rhythm [six-armed, six-legged = 12] Zodiac [Kalachakra] and its 36 Decans to go 72 of number.)

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The erotic arousal of the Kundalini Shakti is experienced as a liquid (fire) light, which, as mentioned, ascends the spinal column; more specifically that of along the back of the neck, which of an experience is termed as the ‘rush’ in modern trance dance culture.

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This liquid light, illuminates your electron dreams, which refers to the bio-photon emanating from amidst the mitochondrial DNA. The mitochondrial DNA is passed down from the mother to her children.

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Whereupon, the liquid (fire) light is intuitively experienced by the Yakut shaman as being the menstrual blood of the Abassi, which is considered to be poisonous.

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The reason why the liquid (fire) light is considered to be poisonous is because it induces shamanic (hypnagogic) trance, which is seen to be the little death.

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The ghost girl Abassi serve Arson-Doulai, the ruler of the dead, who also swallows (shift to the back of the head) people’s souls and gives the living (eternal-recurrence) diseases.

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Whereby the Abassi spirit (shaman doctor) nurses can heal said diseases, who as warrior maidens fight against malign influences.

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This is the reason why the black shaman, though feared, is sought out by those who are in distress. The black shaman is considered to be a powerful healer, which enables his high standing in Yakut society.

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The predatory Abassi are said to be appeased by ejaculatory blood sacrifices. However this is not literal, it otherwise refers to the Abassi requiring ’emotionally charged sexual rites’ for their Tantric conjuration.

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This involves the introversion of the sexual impulse via intense erotic visualisations and meditation, which empowers lucid dream contacts with the Abassi.

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Wherefore the black shaman attains ‘mastery’ over the inner ‘fire.’

In the Southern Siberian Altaic language of the Altay, you will find the name of Odqan, which means fire king. It is from Odqan, the name of the shamanic deity of the Norse is derived, who is called Odin, the Saxon’s knew as Woden.

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The black shaman Odin had his Abassi too, who are called Valkyries, the Saxon’s knew as Waelkyries.

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As you can see, the European’s also practiced shamanism, who had strong ties with the Siberian peoples long ago. But then, shamanism is universal.

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