Astrology Magic And Alchemy In Art

From antiquity to the Enlightenment, astrology, magic, and alchemy were considered important tools to unravel the mysteries of nature and human destiny. As a result of the West's exposure during the Middle Ages to the astrological beliefs of Arab philosophers and the mystical writings of late antiquity, these occult traditions became rich sources of inspiration for Western artists. In this latest volume in the popular Guide to Imagery series, the author presents a careful analysis of occult iconography in many of the great masterpieces of Western art, calling out key features in the illustrations for discussion and interpretation. Astrological symbols decorated medieval churches and illuminated manuscripts as well as fifteenth-century Italian town halls and palaces. The transformational zymology of magic and alchemy that enlivened the work of a wide range of Renaissance artists, including Bosch, Brueghel, D: urer, and Caravaggio, found renewed expression in the visionary works of nineteenth-century artists, such as Fuseli and Blake, as well as in the creative output of the twentieth century's Surrealists.

A captivating portrait of the crucible of magic, science, and religion at the court of the doomed dreamer Rudolf II in Renaissance Prague. At the end of the sixteenth century, the greatest philosophers, alchemists, astronomers, and mathematicians of the day flocked to Prague to work under the patronage of the Holy Roman Emperor Rudolf II. The Theatre of the World is the enchanting story of Rudolf II, an emperor more interested in the great talents and minds of his times than in the exercise of his power. Rarely leaving Prague Castle, he gathered around him a galaxy of famous figures: the Italian painter Giuseppe Arcimboldo, the Danish astronomer Tycho Brahe, the German mathematician Johannes Kepler, and the English magus John Dee. Entranced, like Hamlet, by the new Renaissance learning, Rudolf found it nearly impossible to make decisions. He faced the threats of religious discord and the Ottoman Empire, along with deepening melancholy and an ambitious younger brother. As a result, he lost his empire and nearly his sanity, but he enabled Prague to enjoy a golden age of peace and creativity before Europe was engulfed in the Thirty Years War. "The Theatre of the World" is a beguiling and dramatic human story filled with angels and devils, high art and low cunning, talismans and stars. It offers a captivating perspective on a pivotal moment in the history of Western Civilization. "From the Hardcover edition."

Before its modern incarnation of predictive horoscopy, Astrology was in centuries past integrated with science, magic, mysticism and philosophy. In this groundbreaking anthology, ten of today's most influential esoteric astrologers write concerning Astrology's hidden occult aspects, from herbalism to witchcraft, to philosophy and practical sorcery. Contributing authors include Demetra George, Austin Coppock, John Michael Greer, Jason Miller, Freedom Cole, Benjamin Dykes, Daniel Schulke, Al Cummins, Lee Lehman, Eric Purdue, and Mallorie Vaudoise.

This volume examines the ways that sovereign rulers have employed well-defined symbols, attributes, and stereotypes to convey their power to their subjects and rivals, as well as to leave a legacy for subsequent generations to admire. Legendary rulers from antiquity such as Alexander the Great, Julius Caesar, and Constantine have been looked to as models for their display of imperial power by the rulers of later eras. From medieval sovereigns such as Charlemagne and France's Louis IX to the tsars of Russia and the great European royal dynasties of the Hapsburgs, the Bourbons, and the Tudors, the rulers of each period have appropriated and often embellished the emblems of power employed by their predecessors. Even the second-tier lords who ruled parts of France and Italy during the Renaissance, such as the dukes of Burgundy, the Gonzaga of Mantua, and the Medici of Florence became adept at manipulating this imagery. The final chapter is reserved for Napoleon I, perhaps the ultimate master of symbolic display, who assumed the attributes of Roman emperors to project an image of eternal and immutable authority. The author examines not only regal paraphernalia such as crowns, scepters, thrones, and orbs, but also the painted portraits, sculptures, tapestries, carved ivories, jewelry, coins, armor, and, eventually, photographs created to display their owner's sovereign power, a vast collection of works that now forms a significant portion of the cultural heritage of Western civilization.

An alchemical approach seeks to release the latent potential which resides within the individual and within the cosmos. There was never any question that the work of the alchemists depended upon a knowledge of the planets and their cycles, since alchemical transformations could only be successful if carried out at the astrologically appropriate times. This book has been steadily fermenting and evolving for over twenty-five years, and as such it represents a true alchemical process. It has gone from being an idea to a passion, and then a project and now it is a fully-fledged book. Learn firstly about the mystical process of alchemy, and then discover how it deepens our understanding of the transits of the outer planets to the natal chart. A fascinating book that deserves a place in every astrologer's library.Clare Martin has an MA in Integrative Psychotherapy and has been a practising astrologer and teacher since 1990, working in London for the Faculty of Astrological Studies, of which she was President for nine years, and at the Centre for Psychological Astrology. Her personal approach to astrological interpretation is fundamentally Jungian, and evolved during a long period of studying with a variety of teachers in the western mystery traditions. Clare now lives in Dorset, where she continues her writing and consultancy work and is a tutor on the Mercury Internet School of Psychological Astrology.

Alchemy in Contemporary Art analyzes the manner in which twentieth-century artists, beginning with French Surrealists of the 1920s, have appropriated concepts and imagery from the western alchemical tradition. This study examines artistic production from c. 1920 to the present, with an emphasis on the 1970s to 2000, discussing familiar names such as Andre Breton, Salvador Dali, Yves Klein, Joseph Beuys, and Anselm Kiefer, as well as many little known artists of the later twentieth century. It provides a critical overview of the alchemical tradition in twentieth-century art, and of the use of occultist imagery as a code for political discourse and polemical engagement. The study is the first to examine the influence of alchemy and the Surrealist tradition on Australian as well as on Eastern European and Mexican art. In addition, the text considers the manner in which women artists such as Leonora Carrington, Remedios Varo, and Rebecca Horn have critically revised the traditional sexist imagery of alchemy and occultism for their own feminist purposes.

As is now shown more concisely in this book, mythology and religion, astrology and magic, mysticism and science, literature and art, and many another ingredient-including even music-have contributed to the rise and development of alchemy, and hence of chemistry, the most romantic and picturesque of all the manifold fields of science. The alchemist is first considered realistically in relation to his working background of alchemy, with its intriguing theories and conceptions, its vast literature, and its wealth of cryptic expression and pictorial symbolism. Contents: Alchemy and Alchemists: Nature and Origin of Alchemy, Alchemical Theory, Some Alchemical Tenets, Operations of the Great Work, Alchemical Expression and Symbolism, Types of Alchemists; The Alchemist in Literature: An Alchemist among the Canterbury Pilgrims, An Alchemist in Jacobean London, An Alchemist tells of Himself; The Alchemist in Art: Durer's "Melencolia," Weiditz, Brueghel, Stradanus, de Bry, The Mystical Alchemist in Art, Teniers, van Ostade, Steen, Bega, Wijick, Other Dutch Painters, A Spanish Alchemical Painting, Later Alchemical Paintings, Wright of Derby.

There are no clear demarcation lines between magic, astrology, necromancy, medicine, and even sciences in the pre-modern world. Under the umbrella term 'magic,' the contributors to this volume examine a wide range of texts, both literary and religious, both medical and philosophical, in which the topic is discussed from many different perspectives. The fundamental concerns address issue such as how people perceived magic, whether they accepted it and utilized it for their own purposes, and what impact magic might have had on the mental structures of that time. While some papers examine the specific appearance of magicians in literary texts, others analyze the practical application of magic in medical contexts. In addition, this volume includes studies that deal with the rise of the witch craze in the late fifteenth century and then also investigate whether the Weberian notion of disenchantment pertaining to the modern world can be maintained. Magic is, oddly but significantly, still around us and exerts its influence. Focusing on magic in the medieval world thus helps us to shed light on human culture at large.