Sunday, 22 March 2009
Image,composition and interpretive text from
the Dakini Daemonicon of Mark Dunn
A reinterpretation of the famous grimore-text for invoking spirits-the Goetia of the Lesser Key of Solomon the King in terms of an all female daemonolgy,an "all female succubus daemon goetia"interpreted both visually and verbally in terms of a broad range of intercultural and cross-historical associations.
His opning invocation to the Dakini Daemonicon suggests the spirit and purpose of this feminine centred transformation:
"Let the Green-Jade-Language Valkyria of Xuan-Wu-Da-Di Odqan take one to [a] 'Destination Unknown' of [Occult] Mysteries so as to Reveal all, [the] Hymen Rune 'Seal' Revelations [ one has] Penetrated "
NIGHT-GAUNT NUN GAMARI: The Fifty-Sixth Spirit is Gremory, Gamori or Gamari/Gamary. She is a Strong and Powerful Duchess, and appears in the form of a most sensual and beautiful young woman dressed in[ the] most revealing and sexually provocative black leather skeletal bodice of a Nun's habit. Upon her back one [sees] the leathery black wings of a Bat. She will also be seen with a horned Duchess's crown tied about her lithe waist, and... riding on a great Reptilian Albino Camel with a long Serpentine neck, from out of a vaginal gateway that[ is] the doorway into a Great Beehive of an Obsidian Gothic Cathedral.
The Cathedral is that of a labyrinthine library of Sorcery and Magick that be too a hidden University as well as being that of a bordello of seductive neophyte Witch's teaching the arcane arts of the Crucified-Serpent that are dressed as Goth 'Night-Gaunt' Nuns upon whose backs are to be seen the wings of Bats.
The office of Gamari is to tell of all things Past, Present and to Come wherefore she or her sisters will carry one within ones Visions or Dreams on a flight through the labyrinthine vaginal barrelled hallways of the Cathedral into a myriad womb rooms pertaining to different time periods and worlds. She will also tell of hidden ancient arcane books upon the Occult Arts and of Magical Treasures wherefore she to reveal what they lie in; and to procure the sexual love of beautiful women but especially that of Maidens. She governs 26 Legions of female Spirits whom appear likened unto herself.
"Since [in the Middle Ages] the psychic relation to woman was expressed in the collective worship of Mary, the image of woman lost a value to which human beings had a natural right. This value could find its natural expression only through individual choice, and it sank into the unconscious when the individual form of expression was replaced by a collective one. In the unconscious the image of woman received an energy charge that activated the archaic and infantile dominants. And since all unconscious contents, when activated by dissociated libido, are projected upon the external object, the devaluation of the real woman was compensated by daemonic features. She no longer appeared as an object of love, but as a persecutor or witch. The consequence of increasing Mariolatry was the witch hunt, that indelible blot on the later Middle Ages.
Psychological Types (1921), CW 6. P.344
Carl Gustav Jung (1865 – 1961)"
Further interpretation in terms of Lewis Carroll's children Classic Alice in Wonderland:
THE NIGHT-GAUNT NUN DUCHESS OF ALICE'S WONDERLAND
AN EXPERIMENT IN ASSOCIATIVE CRITICAL PARANOIA FUSION
One could equate the ‘Alice in Wonderland’ character of the ‘Duchess’ with Leather-Night-Gaunt-Nun Gamari; the author Lewis Carroll does not describe the physicality of the Duchess in much detail. The common perception of the Duchess is that she has a hideous appearance, which was primarily established within the popular imagination by the surreal works of John Tenniel's illustrations rather than that of Carroll’s scant description within his own work of Alice in Wonderland; however, within the context of Lewis Carroll’s creation it is clear that Alice finds the ‘Personality’ of the Duchess quite unattractive at first. The Duchess is an antagonist of The Queen of Hearts; in her first appearance, the Duchess seems nearly as unpleasant as the Queen herself, but later on treats Alice with friendliness and respect. (One could associate the 32nd Spirit of the Goetia called Asmodaya with the 'Red Queen' while Alice is the 4th Spirit Samigina)
If one to fuse Gamari with the Duchess one could thence perceive her living amidst Wonderland within a huge palatial Cathedral just outside the (Great Old Ones) Caterpillar's forest. The Duchess employs a footman who Alice thinks resembles a Frog one could perceive as being the Amphibious Babylonian deity of Oannes whom the Dogon called Nommo; the Duchess also has a female Cook whom is addicted to Pepper while throwing crockery and kitchen utensils over her shoulder with no concern for those who might be hit, which one could perceive as being somewhat like the Tantric-Hindu Goddess Kali concocting spicy hot Asian cuisines as she rants and raves on about the British Colonialism of India. (As for the Cook’s addiction to Pepper one could perceive the Pepper as being the potent Hallucinogenic snuff called 'Epena', whose ingredient is derived from the Virola tree, which is considered as being the ‘Semen of the Sun;’ it is primarily used by the Turkano Indians of South America.) The footman of an Oannes enjoys staring at the sky for days on end looking at the binary-star of Sirius whom is totally oblivious to most of the people in or out of the house. The Duchess also has a Child as well as the ‘Cheshire Cat’ within her abode. In regards to Gamari the Child is the Sol-Invictus ('God-Sun') Christ Child of a Horus while that of the ‘Cheshire Cat’ one could associate with the ancient Egyptian Goddess Bast or the Norse Goddess Freyja whom was known as the Mistress of Cats, both of which one could in turn fuse with the 12th Spirit of the Goetia called Sitri.
The character of the Duchess is strongly voluble; at times she even seems to have a double personality. When she first meets Alice in her kitchen, she shows herself to be nervous, aggressive, and not disposed to interact. She recites one of the more well-known rhymes in the Alice in Wonderland book, when she advocates beating her (Christ) Child for sneezing:
“Speak roughly to your little boy and beat him when he sneezes, he only does it to annoy because he knows it teases. I speak severely to my boy; I beat him when he sneezes, for he can thoroughly enjoy the pepper when he pleases.”
As the Cook has absolutely saturated the kitchen with (Epena) Pepper, and the baby sneezes constantly, Alice can only conclude that the baby boy has probably suffered quite a bit at his Mother's (Mother Church) hands. Taking pity on the child, Alice spirits him away, only to find that he has transformed into a Piglet and perhaps he was such all along. It is never explained why this happens in Carroll's story, but Alice looks on the bright side, concluding that while the baby wasn't a very attractive baby, it makes for a good-looking Pig.
Of the Duchess' household, the Cat appears to be by far the most balanced and sensible, although it states that—like everyone else in Wonderland—it is Mad. How the Cat came to live with the Duchess is, like so many other matters in Wonderland, a mystery. (In regards to the Pre-Christian Pagan perspective that the Feminine principle has Feline traits, a Cat within the palatial Cathedral of Gamari would indicate an Elder Pagan influence.) Later, when the Cat meets up with Alice, it appears it has left the Duchess for good.
When Alice meets the Duchess for the second time at the Queen's croquet party, the Duchess is much far more communicative of almost flirtatious Lesbian intention, whom is seemingly determined to charm the young Girl for reasons unknown in the story, although most obvious when reading between the lines. The Duchess repeatedly places her chin firmly upon Alice's shoulder, which Alice finds disturbing as well as uncomfortable, for the Duchess has a very sharp, pointy chin. Alice begins to suspect that the Duchess might actually have a pleasant personality after all, and that her earlier ruthlessness was caused by the (Epena) Pepper. In any case, the Duchess has no concern for her (Christ Child) baby now that he has become very much a Pig. The Alice in Wonderland story often depicts the Duchess as being seen from a child's-perspective of perceiving emotionally volatile and mysterious adults, switching back and forth between dark moods and condescending affection, hence very unpredictable.
Limited Edition Art Print of the Art-Work Above is Availible for sale.