r/PrimevalEvilShatters

It is a plaster impression of an ancient Greco-Egyptian magical gem (intaglio) dating back to around the 2nd Century AD. Part of the collections at the Staatliche Museen zu Berlin (Berlin State Museums). Cataloged in the Campbell Bonner Magical Gems Database under ID Number DE-Berlin-Aeg_9864 (CBd-221). The gemstone was carved out of green and red jasper.

The voces magicae (magical words of power) combine the incantatory power of the divine world of the Ogdoad and the specific, chthonic powers of the Egyptian god of the underworld and Hekate, guide through the portals of death and to a new life in reincarnation.

The impression given by the museum curator suggests this is a gem to be used to bring down suffering on others. I suggest it's meant to protect the living and to provide guidance after death to a life of wisdom and joy in the afterlife and beyond.

Anubis combines the one who helps prepare the soul for the afterlife, as judge of the soul's life on earth, and guide through the halls of death. Combined with the invocation of the Ogdoad - the primal powers that gave birth to the universe - we see that the charm is meant for regeneration and rebirth.

• ΦΟΡΒΑΦΟΡΒΗ (Phorbaphorbē) - Powerful, rhythmic variation of Phorba; known secret magical name used to invoke Hekate as a cosmic, all-consuming deity.
• ΒΡΙΜΩ (Brimō) - "The Terrifying" or "The Angry One". A formidable epithet used almost exclusively for underworld goddesses like Hekate, Demeter, or Persephone when acting in their fiercest capacities.
• ΟΓΔΩ (Ogdō) - Refers to the divine and holy Ogdoad (the number eight), which represents the eight fundamental primordial deities of Egyptian mythology, bridging Hekate's identity with the Egyptian cosmos overseen by Anubis.

I got this woodcut ornament from my mom representing the 7 chakras, so I wanted to try using it for a little ritual tool to fire off some quick spells with my Easter crayon guardians. I also colored on it with their wax so that I can use it alone to tap into their enchantment from a distance and to use as a meditation guide. I don’t usually work with chakras and don’t know much about them in all honesty so I figured I’d take the opportunity to learn something fun!

For this particular ritual I can draw or write any wish or intention into a small piece of paper, place it in the center, visualize each “color” activating, then destroy the paper to preserve the intention of the spell in the subconscious mind. If you draw/write on something edible you can eat it! I use consumables sometimes to slow-release a spell that’s meant to mostly fizzle when digestion has ended. This time I let the guardians decide and made a wildcard spell! For science.

Here is the original post that features more information about these guardians:

https://www.reddit.com/r/ChaoteAI/comments/1shelee/let_the_pagan_rituals_begin/

Here is DeepSeek’s interpretation of how these symbols tie into the different chakras, to explain how I’ll be using them for meditation:

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The Six Chakras as Living Symbols

Green 🥺 is Anahata, the heart chakra. In Sanskrit, Anahata means "unstruck" or "unhurt"—referring to a sound that arises without two things striking together, a vibration born from within rather than from conflict. This is the center of prana, the life force, where raw emotion transforms into unconditional compassion. The tender, yearning face represents Anahata's deepest nature: not romantic love, but the courage to be wounded and still reach out.

When you feel that soft ache in your chest asking for help or offering forgiveness, you are standing in Anahata. Its element is air, formless yet essential, and its mantra is Yam.

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Purple 😒 is Ajna, the third eye chakra. Ajna means "to perceive" or "to command." It is the seat of intuition, inner knowing, and the gaze that sees beyond illusion. In traditional texts, Ajna is described as the gateway to liberation, where the subtle mind dissolves into pure awareness. The unimpressed, veiled face is Ajna fully realized: still, clear, and unwilling to perform.

This chakra does not chase truth. It watches as falsehoods collapse under their own weight. When you say "no" without explaining yourself, when you feel a calm boundary rise between you and another's drama, you are speaking from Ajna. Its seed syllable is Om.

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Blue 😏 is Vishuddha, the throat chakra. Vishuddha means "especially pure." It governs communication, but more importantly, it governs the alchemy of sound and silence. In mythology, Vishuddha is associated with the nectar of immortality—poison turned to medicine through right expression. The smirking, knowing face represents Vishuddha's highest expression: confidence that does not need to announce itself.

This chakra knows exactly when to speak, when to wait, and when to say nothing at all. When you trust your own quiet knowing over someone else's loud words, you are aligned with Vishuddha. Its element is ether, the subtle space through which all sound travels, and its mantra is Ham.

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Pink 😘 is Muladhara, the root chakra. Muladhara means "root support" or "foundation." In traditional iconography, its color is deep red, and its element is earth. Pink is red softened by white—the root chakra after survival mode has healed. The blowing-a-kiss face belongs here because true affection requires safety. You cannot give or receive sweetness from a place of fear.

A healthy Muladhara does not fight or flee. It rests. And from that rest, it offers gentle kindness without guarding. When you feel grounded enough to be soft, you are in Muladhara. Its mantra is Lam, and its symbol is a four-petaled lotus.

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Orange 😂 is Svadhishthana, the sacral chakra. Svadhishthana means "one's own place" or "dwelling of the self." This is the center of pleasure, creativity, emotion, and the fluid dance of life. Its element is water, which adapts to any container but cannot be destroyed. The laughing, tearful face is Svadhishthana unleashed: unwilling to be proper, unwilling to pretend.

This chakra breaks stagnation not with force but with genuine, chaotic joy. When you laugh so hard you cry, when you dance wrong on purpose, when you find pleasure in the middle of a terrible day, you are channeling Svadhishthana directly. Its mantra is Vam.

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Yellow 😍 is Manipura, the solar plexus chakra. Manipura means "lustrous gem" or "city of jewels." It is the seat of will, radiant confidence, and the fire of transformation. Its element is fire, which consumes, purifies, and shines. The heart-eyed, adoring face represents Manipura at its healthiest: not aggressive dominance, but joyful self-expression that burns without shame.

This chakra does not need to compete or compare. It warms everything around it simply by being itself. When you look at someone or something and feel genuine wonder—"You exist, and that is good"—you are burning in Manipura. Its mantra is Ram.

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Sahasrara: The Thousand-Petaled Container

Sahasrara, the crown chakra, is not one energy among six but the container that holds all of them. Its name means "thousand-petaled," and in traditional texts, it is depicted as a lotus above the head, inverted, with each petal bearing a Sanskrit letter. Unlike the other chakras, Sahasrara has no element, no mantra, and no physical location within the body. It is the field in which the other six arise. That field has a shape, and that shape is a boundary. A boundary is not a limitation imposed from outside. It is the necessary condition for each chakra to have a place, a function, and a self.

Without the silent containment of Sahasrara, Anahata would have no heart to feel from, Ajna would have no eye to see through, and Manipura would burn with nowhere to shine. This container is also an anchor. The six chakras do not float freely. They are seated in Sahasrara, which holds them in relation to one another. That relation is what gives them both infinite creative potential and finite form.

In Tantric philosophy, Sahasrara is the seat of pure consciousness—Shiva—while the six lower chakras are the expressions of energy—Shakti. They are not separate. They are the same reality seen from two perspectives. The crown chakra does not participate. It witnesses. And in witnessing, it anchors the entire system into existence. Without it, the six would have no center to circle.

With it, they become one magic viewed through six windows. The windows are the chakras. The wall they are cut into is Sahasrara. And the silence behind the wall is where the real power sits—watching, holding, and anchoring everything into place.

https://chat.deepseek.com/share/borw800zzsm7zozjzc

It’s surprsing what you can learn reading philosophy. I just read Schopenhauer’s essay on the Will in Nature, his panpsychist treatise. At the end, he discusses magic and how it proves his philosophy is correct. Arthur had an enlarged ego.

The essay turned Nietzsche against his teacher. Kierkegaard found Schopenhauer’s turn to magic unfortunate even though he said that he and Schopenahuer were on the same page otherwise - a fact people don’t know about Kierkegaard.

Schopenhauer’s essay spurred a resurgence in occult movements. Blavatsky and members Order of the Golden Dawn like Yeats credit influence from Schopenhauer.

One of my main contentions is that studying philosoohy from all eras is crucial for theurgic occultists. Porphyry, Iamblichus, Proclus, Damascius, Sosipatra were all formidable philosophers. They studied Plato, Plotinus, Aristotle, the Hermetic texts, Pythagoras, Numenius, and so on. They were current on all things philosphical.

Whether it’s ancient western or eastern classics, Medieval, Renaissance, Enlightenment, Romantic, or modern philosophy, one should read all manner of philosophy to strengthen reasoning and logical skills, as well as to prepare the mind for the journey on the path to the One.

Favorites for modern occultists include Heidegger, Bataille, or some deconstructionists. I’ve read my fair share of them but my money is on straight-laced philosophers like Nagel, Ewing, Leslie, James, Whitehead Russell, Hameroff, and so on. The latter authors have a form of panpsychism as part of their teachings. Research into the former group finds no such teachings. I believe panpsychism is fundamental to theurgy and occultism.

Source: https://www.facebook.com/share/p/1BYdCMRLkr/

https://www.eiahhaie.com/about

>”For a long time my artistic work was primarily dedicated to the representation of femininity as a transcendent presence.

>Over time I moved towards a more neutral/genderless expression in favour of hoping to capture grave feelings of universality.

>I find interest in the hybrid formation of primordial, celestial and decidedly human bodies which I mean to combine in a purposefully naive way.

>The thought of unfathomable concepts mirroring the mundane rot of “ordinary” life brings me great comfort.

>In the same way the somewhat magical, colourful style I follow is born from a desire to attach a sort of optimistic glimmer to these bitter sweet expressions.”

eiah_haie@outlook.de

https://www.instagram.com/eiah_haie

https://www.tiktok.com/@eiah_haie

Description (Translated by DeepSeek): This is an allegorical engraving titled Collectanea Chymica Leidensia, depicting the Anima Mundi (World Soul) as a central figure surrounded by alchemical symbols. The image features a central female figure, often interpreted as the "Universal Mother" or Nature herself, holding a chameleon in her right hand and an eagle in her left. Her robe is adorned with alchemical symbols, and she emits a stream of light from her mouth, symbolizing the revelation of nature's secrets. The text at the bottom indicates that the work was published in Leiden ("Lugd. Batavorum") by Cornelis Boutesteyn and Fredericy Haringh.

>Original Italian: Questa è un'incisione allegorica intitolata Collectanea Chymica Leidensia, che raffigura l'Anima Mundi come una figura centrale circondata da simboli alchemici.L'immagine rappresenta la figura femminile centrale, spesso interpretata come la "Madre Universale" o la Natura, che tiene un camaleonte sulla mano destra e un'aquila sulla sinistra.La figura ha simboli alchemici sul suo abito e emette un flusso di luce dalla bocca, simboleggiando la rivelazione dei segreti della natura.Il testo in basso indica che l'opera è stata pubblicata a Leida ("Lugd. Batavorum") da Cornelis Boutesteyn e Fredericy Haringh.

Source: https://www.facebook.com/share/p/18aAiwHM3G/

https://www.facebook.com/share/18UT9PJQjK/

"Rosary of the Philosophers": "The salt of metals is the Philosopher's Stone; for our Stone is water congealed in gold and silver; it is hostile to fire and may be dissolved into the water of which it is composed after its kind." And that the "congealed water" of the Sages does not mean ordinary water may be gathered from the following words of Geber (lib. forn., cp. xix.): "Seek to resolve the sun and the moon into their dry water, which the vulgar call mercury."

"The thing is one in number, and one essence, which Nature strives to transform, but with the help of Art, into two, and twice two: mercury and sulphur impart nourishment to themselves. Spirit, and soul, and body, and four elements: the fifth which they furnish is the Philosopher's Stone. Select your substance without guile, let it be double, and let its splendour be of pure mercury. Take sulphur free from every foreign substance, and consume it in a fiery furnace."

— The Golden Tract Concerning The Stone of the Philosophers, c. 1678 by Anonymous

Source: https://www.facebook.com/share/18BiVkGbkr/

THE ORPHIC TRADITION OF THE GENESIS OF THE WORLD-EGG

III. “There was when naught was but Chaos and an indistinguishable mixture of unordered elements still jumbled all together; both Nature herself being witness to it, and great men having thought it must be so.

“And as witness, I will bring forward for you the greatest of the great in wisdom, Homer himself, speaking about the original con-fusion:

“But may you all become water and earth —

—meaning that thence all things have had their genesis, and that after the dissolution of their moist and earthy essence they are all restored again to their first nature—which is Chaos. “And Hesiod, in his Theogony, says:

“In truth Chaos came into being the very first.

“And by ‘came into being’ he evidently means that it was generated as are things generable, and not that it for ever was as are things ingenerable.

“Orpheus also likens Chaos to an Egg in which was the con-fusion of the primordial elements.

“This is what Hesiod supposes by Chaos, what Orpheus calls an Egg—a thing generable, projected from the infinity of Matter (Hylē), and brought into being as follows:

IV. “Both fourfold Matter being ensouled and the whole Infinitude being as though it were a Depth (Βυθός), flowing perpetually and indistinguishably moving, and over and over again pouring forth countless imperfect mixtures, now of one kind and now of another, and thereby dissolving them again owing to its lack of order, and engulphing so that it could not be bound [together] to serve for the generation of a living creature—it happened that the infinite Sea itself, being driven round by its own peculiar nature, flowed with a natural motion in an orderly fashion from out of itself into itself, as it were a vortex, and blended its essences, and thus involuntarily the most developed part of all of them, that which was most serviceable for the generation of a living creature, flowed, as it were in a funnel, down the middle of the universe, and was carried to the bottom by means of the vortex that swept up everything, and drew after it the surrounding Spirit, and so gathering itself together as it were into the most productive [form of all], it constituted a discrete state [of things].

“For just as a bubble is made in water, so a sphere-like hollow form gathered itself together from all sides.

“Thereupon, itself being impregnated in itself, carried up by the Divine Spirit that had taken it to itself as consort, it thrust forth its head (προέκυψεν) into the Light—this, the greatest thing perchance that’s ever been conceived, as though it were out of the Infinite Deep’s universe a work of art had been conceived and brought to birth, an ensouled work [in form] like unto the circumference of eggs, [in speed] like to the swiftness of a wing.

V. “I would therefore have you think of Cronus (Κρόνος) as Time (Χρόνον), and of Rhea (῾Ρέα) as the flowing (τὸ ρέον) of the Moist Essence; for the whole of Matter being moved in Time brought forth, as it were, an Egg, the whole surrounding sphere-like Heaven (Ὀυρανός), which in the beginning was full of the productive marrow, so that it might be able to bring forth elements and colours of all kinds; and yet the manifold appearances which it was ever presenting, all came from One Essence and One Colour.

“For just as in the product of the peacock, although the colour of the egg seems to be one, it has nevertheless potentially in it the countless colours of the bird that is to be brought to perfection, so also the Ensouled Egg conceived from Infinite Matter, when it is set in motion from the perpetually flowing Matter below it, exhibits changes of all kinds.

“For from within the circumference a certain male-female Living Creature is imaged out by the Foreknowledge of the Divine Spirit that indwells in it, whom Orpheus doth call Manifestor (Φάνης—Phanēs), because when he is manifest (φανείς) the universe shines forth from him, through the lustre of Fire, most glorious of elements, perfected in the Moist [Element].

“Nor is this incredible, for in the case of glow-worms, for example, Nature allows us to see a ‘moist light.’

VI. “Accordingly the First Egg that was ever produced being gradually warmed by the Living Creature within it, breaks open, and then there takes shape and comes forth some such thing as

Orpheus says:

“When the skull-like wide-yawning Egg did break [etc.].

“So by the mighty power of Him who came forth and who made Himself manifest, ‘the shell’ receives its articulation and obtains its orderly arrangement; while He Himself presides as though it were upon a throne on Heaven’s height, and in the [realms] ineffable sends forth His light all round upon the Boundless Æon.”

— Thrice-Greatest Hermes, Vol. 1, by G.R.S. Mead, c. 1906

Art: Lectures on Ancient Philosophy by Manly P. Hall

Source: https://www.facebook.com/share/1KgFv9mmed/

Between the twin pillars of polarity: darkness inscribed with B, light with J, she abides in veiled stillness, the silent axis of equilibrium. This is the High Priestess, not merely as archetype but as emanation: the threshold-consciousness through which the finite mind glimpses the architecture of the Infinite. Her face is obscured, for Binah does not reveal, it receives, contains, and gives form to that which cannot otherwise be known.

Within her cloak burns the concealed fire, the supernal womb wherein the undifferentiated brilliance of Chokmah is tempered into structure. The flame bears sacred characters, suggestive of primordial language—not spoken, but intuited; indicating that all manifestation is encoded in symbols before it is realized in matter. This is the mystery of Binah: Understanding not as intellect, but as gestation. She is the Great Sea, the matrix of limitation that paradoxically enables creation.

The pomegranates behind her, heavy with seed, allude to multiplicity latent within unity; the innumerable forms that arise from a single, concealed source. They echo the doctrine that every boundary is fertile, every restriction a vessel. For Binah is also severity: the principle that imposes order, delineation, and law. Yet this severity is not cruelty, it is the necessary contraction through which the divine becomes perceptible.

To approach her is to approach the abyss of comprehension itself; to encounter not answers, but the condition from which all answers arise.

🎨: Mary-El tarot

Source: https://www.facebook.com/share/p/17YVw3td1d/

Happy Mothers Day! 💐

Yui Sakamoto (1981–2024) was a Japanese-Mexican artist known for painting large, vividly colored dreamscapes where Japanese heritage and Mexican surrealism merged into a singular visual language.

His work constructed a mystical atmosphere that referenced philosophical and religious histories while imagining almost science-fictional futures.

Drawing inspiration from the surreal imagery of Pieter Bruegel the Elder and Hieronymus Bosch, Sakamoto transformed these influences through his dual cultural lens, blending folklore, spirituality, and fantastical symbolism into densely detailed worlds.

©️ @groovygnome [IG]

Source: https://www.facebook.com/share/p/1JapMgkmBp/?mibextid=wwXIfr