#jan fries

[themotherofrevelation]

Yoni, sacrificial fire, and funeral fire are interchangeable. The vulva brings forth, nourishes, maintains, devours, hides in potential, and brings forth again.

Jan Fries, Kālī Kaula: A Manual of Tantric Magick

[alephskoteinos]

If evocation reveals anything, it is the fact that our very limits and self-descriptions are artificial. Essentially, your self, myself, all-self and no-self extend everywhere.

- Jan Fries, Visual Magick

[forbidden-sorcery]

There is plenty of hidden lore in the realm of the dead, or in that part of your mind which your living personality considers dead (i.e. beyond ego). This is what necromancy is all about. When you explore a mound, you are effectively working a necromantic rite. This sounds really wild and dramatic, so perhaps you ought to recall that every time you are reading something by a dead author, the same applies. At which point I would like to add that necromantic rites had a respectable place in the enchantments of the medieval bards. The famed Irish work Dindsenchas is based on precisely these ideas. The word means literally 'hill-tales', or more exactly, tales from the mounds and hilltop settlements. The tales were collected between the 9th and 11 th c., and consist mainly of place-anecdotes. The Irish poets believed in the importance of keeping the lore of the land alive. Their repertoire of tales included hundreds relating to local traditions, hills, roads, mounds, villages, rivers and pools. When such knowledge, or any other old piece of lore happened to be forgotten, the poets assembled for a necromantic rite. Using the mound attributed to some dead hero they did their best to raise him and to get the true story from one who had participated in it.

Jan Fries - Cauldron of the Gods: A Manual of Celtic Magick

[soritadeste]

The Seven Names of Lamastu is an exploration of the religions and mysteries of the cradle of civilisation, Mesopotamia by Jan Fries, author of Kali Kaula and Dragon Bones. The Sumerians developed the first functional script (3500-3200 BC), the priests wrote god lists, dictionaries, catalogues, recorded spells, myth and poetry – and committed the first known medical prescriptions and rituals into writing. In the centre of their faith lurks the lustful animal-headed goddess DIM.ME/Lamaštu , exiled from Heaven for her forbidden desires, and charged by the council of Gods with a fearsome task: to cull the vulnerable and keep the human population within manageable limits. For all but a few, her name conjured terror in the hearts of Mesopotamians.

https://www.avaloniabooks.com/product-page/the-seven-names-of-lama-tu-by-jan-fries

[haremask]

Last year I was exploring the simple art of decision making. One afternoon I came to a crossroads in the woods. I had two basic choices. One was to go on the same level, walking to the meadows, the other was to go uphill directly and come to the mountain top sanctuary. Before I knew it, I had decided fort he meadows, which is a bit unusual for me. So I stopped and went back into my mind. How did my deep mind represent the two choices to me? Each choice had been represented by an inner vision, with some inner speech, and the feeling this produced was the signal that made the decision. As the process had been so fast, I had hardly seen that vision clearly, and so I went back to examine the representations with more leisure. The 'journey up the mountain' was a picture of the mountain, all veiled in mist and gloom, seen from very far above so that the trees looked all alike. I was a tiny spot moving in the murk, seen from far away. The road o this microscopic figure was undefined, a steep path through uniform trees, a hopeless journey lacking beginning or end. The 'walk to the meadows' was represented in great detail. I imagined what I would sense there. The rich green of the leaves, wisps of mist floating between the trees, the feelings of damp grass, dewdrops sparkling on tree-fungi, fingers touching moist bark, spider webs between the yarrow flowers. Being fully inside the vision I enjoyed a wealth of detail and wonder. I had made my decision by evaluating two visual representations of the choices I had. As the process was so fast, I was quite unaware of the differences in the representation, believing I had merely 'thought of the mountain and the meadow' and 'had a feeling I would enjoy the meadows much more.' It's hardly surprising that a vivid and detailed association of joy and beauty raises better feelings than a diffuse and gloomy view showing a tiny fool struggling uphill without goal. My conscious mind believed it had chosen, but the choices had been prepared, to make one much more attractive than the other. My deep mind had made the decision, and as I felt rather weak and lazy that day, the choice was a good one. When you make your next decision ,no matter how minor it may seem, examine you you represent your choices. Are you sure you haven't made the decision long ago?

Jan Fries, Visual Magick

[estrelapagan]

" [...] eu suspeito que o grande burburinho sobre a mágicka sexual venha do fato de que a maior parte dos magos e bruxas europeus entram no mundo da mágicka por meio de especulação intelectual e leitura e discussão de livros. Essa abordagem inclui uma tendência perigosa de negar e controlar o corpo, de concentrar em jogos mentais intelectuais e de ignorar as alegrias da dança, do exercício, das atividades externas e similares. Quando finalmente lhes é permitido fazer algo positivo com seus corpos (por exemplo, mágicka sexual), isso pode produzir um solavanco de uma energia que até então lhes era desconhecida."

(Mágicka Visual - Jan Fries)

[coldalbion]

At some point circa 2001.

[imustbeamermaidrango]

Art need not be beautiful as long as it's alive.

From ‘Visual Magick’, by Jan Fries