Tuesday, August 31, 2010

Voudon Paper Cuts.... the Magick Art of Hagen von Tulien

Dark Illuminations ~ Paper Cut 2010

Société ~ Paper Cut 2010


From Beyond ~ Paper Cut 2010

Vignette ~ Ink on paper 2010

all works © copyright by Hagen von Tulien

Hagen von Tuliens Official Myspace

Saturday, August 28, 2010

Maurice Scève (1501-c.1560)...Delie ...Emblems of Desire 1544


Delie object de plus hault vertu was first published in 1544 in Lyon by Sulpice Sabon for the bookseller, Antoine Constantin. The subsequent 1564 edition, published in Lyon by Nicolas Du Chemin, follows the first edition closely, but moves the initial huitain (“A SA DELIE”) to the very end of the volume and includes an index of figures and first lines. The woodcut figures present significant changes from one edition to the other. The Délie has a mathematical layout; many suggestions have been made about its significance and about the relationship between text and image inasmuch as this work has a visual and spatial component. The Délie is composed of one decasyllabic huitain (an epigram of eight lines of verse), 449 decasyllabic dizains (epigrams of ten lines of verse), fifty woodcut emblems (each with a motto and a figure, surrounded by an ornamental border) which appear at regular intervals.


Paris : Nicolas du Chemin, 1564.

Scève’s Délie is a syncretic work, which bears the mark of the poet’s erudition and high concept of poetry. The work conveys the thoughts and feelings of a lover suffering from unrequited love and striving for perfection. Throughout the Délie, love is an obsessive and complex experience in which the sacred and the profane are intertwined. The question of Délie’s identity has tantalized critics; some have assimilated her to the Lyonnese poet Pernette Du Guillet, whose posthumous Rymes sometimes echo Scève’s Délie. La Croix du Maine, in contrast, saw the name “Délie” as the anagram of “L’Idée” (Idea), and stressed the Neo-platonic aspects of the lover’s quest. Yet, Délie eludes any attempt to define her; her composite persona combines references to Petrarch’s Rime Sparse and Petrarchan poetry, the Bible and Christian literature, classical texts and iconography, mythology, French and Neo-Latin sources. The concise quality of the dizains, and their convoluted syntax contribute to the complexity of this fascinating work.

from the Gordon Collection at the University of Virginia

* * *



The less i see her, the more i hate her:
The more i hate her, the less anger i feel.
The more i adore her, the less it means:
The more i flee her, the more i wish her near.
Love with hate & pleasure with pain,
The two arrows fall on me in a single rain.
And the love i great which thereby gains
As hate sinks in & cries out for revenge:
Thus my vain desire makes me detest
The one my heart so infallibly requests.

* * *



For this kindness let me at least commend you,
Of which i note both occasion & site
Where, all atremble, you heard me undo
This mortal knot into which my heart was tied.
I saw you, like me, now grown tired
Of my travail, more out of compassion
Than any sense of this great passion
I still feel, though less so than at the start.
For as you extinguished my affliction,
You secured this burnt offering of my heart.

* * *

Thursday, August 26, 2010

Austin Osman Spare... Satyr

The Later Work of Austin Osman Spare 1927-1956
by William Wallace


"I am the Living Lie. In a World of Lies it is necessary to create reality" Satyros in Stroud 1924


Satyros at Stroud, 1924

"The only teaching possible is to show a man how to learn from his own wisdom, and to utilise his ignorance and mistakes. Not by obscuring his vision and intention by righteousness."

from the Book of Pleasure - The psychology of ecstasy- 
Austin Osman Spare 

previous AOS posts

Tuesday, August 24, 2010

D'AUREVILLY Barbey...What never dies ...



 from D'AUREVILLY Barbey — What Never Dies. A romance. Translated from the French by Sebastian Malmoth (Oscar Wilde). 1928. Privately Printed
illustrated by Donald Denton

Friday, August 6, 2010

The Sphinx...Oscar Wilde & Alastair...1920






Your lovers are not dead, I know;
They will rise up, and hear your voice,
And clash their cymbals, and rejoice,
And run to kiss your mouth, -- and so

Set wings upon your argosies! 

more on the background of this book and other illustrators  > THE SPHINX 

previous Alastair posts L'Anniversaire de L'Infante

Monday, August 2, 2010

Works of Art...Moche pottery...Peru...100-800 AD



The incredible detail in Moche ceramics could lend to the fact that they served as a sort of didactic model. Older generations could pass down general knowledge about reciprocity and incorporation to younger generations through these veristic portrayals. These sex pots could teach about procreation, sexual pleasure, cultural and social norms, a sort of immortality, and transfer of life and souls, transformation, and the relationship between the two cyclical views of nature and life.

Andrew D. Chumbley... The Azoetia... excerpt...

The Assumption of the Azoetic Magical Self - Andrew d. Chumbley

By Arte enchant and fascinate the Portals to open, revealing those whom

the Stars veil. Sing out their Passion in the War and Feast that is Thy Self!
Taste ye of the sweet and secret wines of Heaven - the Ocean of Ichor
spilt from the broken idols of Gods and Demi-gods. Carouse ye with my
Satyrs and embrace the Succubi raised from Thine own Desires; swoon
ye in rapture, in the nimbus of fever billowing over the lily field of the
Night. Yet be not overcome! Fall not! Tire not of Pleasure, but seek ye
the Ever-virgin Joys that hide beneath Medusine Veils.

Amidst these blossoms cavort and dance!
1 cap! Your skin aflame in peacock-iridescence!
Your eyes like black fire at the heart of the storm!

For these are the Splendours of the Infinite, wrought in the Images and
Effiges of I

"Speaking for myself, books like Azoetia are mystical love-letters to stangers whom I would not otherwise meet. "ADC