The House of Hidden Light

Magick for All

The Church of the Subgenius

"YES - BEWARE - the biggest danger this Earth faces is The Church Of The
SubGenius becoming POPULAR and turning into one big CHEAP JOKE. The
Conspiracy has a way of doing that to damn near anything that comes near
it - i.e. tries to make a buck. And when this Industrial Church, this
Final Organization, takes full power over the entire globe in ‘98, it 
just better not have been tainted and cheapened by such Normal Armies 
as Pinks(1), Punks, False Prophets, Hippies, right-wing Nerds, obnoxious
would-be hepcats, Nazis, Commies, Glorps(2) or, as the Prophet Hypercleats
dubbed them, Mal-Aligned Normals.”


~The Book of The Subgenius;Intro

#JR Bob Dobbs # SLACK #Church of the Subgenius #Bob Dobbs

#JR Bob Dobbs # SLACK #Church of the Subgenius #Bob Dobbs

#Bob Dobbs #JR Bob Dobbs #Church of the Subgenius #SLACK 

(Source: subgenius.com)

Oskar Schlemmer: The Bauhaus Years

In 1919 Schlemmer turned to sculpture and had an exhibition of his work at the Gallery Der Sturm in Berlin. After his marriage to Helena Tutein in 1920, Schlemmer was invited to Weimar by Walter Gropius to run the mural-painting and sculpture departments at the Bauhaus School before heading up the theater workshop in 1923. His complex ideas were influential, making him one of the most important teachers working at the school at that time. However, due to the heightened political atmosphere in Germany at the end of the 1920s, and in particular with the appointment of the radical communist architect Hannes Meyer as Gropius’s successor, in 1929 Schlemmer resigned his position and moved to take up a job at the Art Academy in Breslau. 

Schlemmer became known internationally with the première of his ‘Triadisches Ballett’ in Stuttgart in 1922. His work for the Bauhaus and his preoccupation with the theatre are an important factor in his work, which deals mainly with the problematic of the figure in space. People, typically stylised female figures, continued to be the predominant subject in his painting. After using Cubism as a springboard for his structural studies, Schlemmer’s work became intrigued with the possibilities of figures and their relationship to the space around them, for example ‘Egocentric Space Lines’ (1924). Schlemmer’s characteristic forms can be seen in his sculptures as well as his paintings. Yet he also turned his attention to stage design, first getting involved with this in 1929, executing settings for the opera ‘Nightingale’ and the ballet ‘Renard’ by Igor Stravinsky

Oskar Schlemmer Das Triadische Ballet 1929

Oskar Schlemmer Das Triadische Ballet 1929

Das Triadische Ballet 

Gary Dickinson

Gary Dickinson is a practitioner of I Ching divination with over thirty years expertise. A Fellow of the Royal Asiatic Society, he worked in the field of Chinese art for over twenty years, lecturing throughout the world on Chinese ritual and symbolism. He is co-author of ‘Imperial Wardrobe’, widely regarded as a source-work on the court dress of the Qing period (1644-1911). He was also an historical consultant for the Oscar-winning costumes in Bertolucci’s ‘The Last Emperor’. 

#Gary Dickinson # I Ching #Thelema #TAO TE CHING #Aleister Crowley

#Gary Dickinson # I Ching #Thelema #TAO TE CHING #Aleister Crowley

GARY DICKINSON’S MASTERPIECES

GARY DICKINSON’S MASTERPIECES

GARY DICKINSON’S Masterpieces
8. Terrae Deo Dedit
Acrylic on canvas
30cm x 30cm x 2.0cm
The Latin phrase inscribed on the Memorial Pillar literally translates as ‘The Earth God Gives’. The closest equivalent phrase in the Old Testament appears in a proclaimation by the Persian King Cyrus who declares that God had ‘given him all the kingdoms of the earth’ and charged him to restore the Temple at Jerusalem and release the Hebrews from their captivity in Babylon. Crowley may have been making reference to his attempts to establish the Law of Thelema and free mankind in a post-Christian era.

GARY DICKINSON’S Masterpieces

8. Terrae Deo Dedit

Acrylic on canvas

30cm x 30cm x 2.0cm

The Latin phrase inscribed on the Memorial Pillar literally translates as ‘The Earth God Gives’. The closest equivalent phrase in the Old Testament appears in a proclaimation by the Persian King Cyrus who declares that God had ‘given him all the kingdoms of the earth’ and charged him to restore the Temple at Jerusalem and release the Hebrews from their captivity in Babylon. Crowley may have been making reference to his attempts to establish the Law of Thelema and free mankind in a post-Christian era.

GARY DICKINSON’S Masterpieces
7. Fallen Idol - The Seal of Bael.
Acrylic on canvas
20cm x 20cm x 3.5cm
The Prophet Jeremiah raged against the Hebrews for creating a Tophet and placing ‘abominations’ in the Temple at Jerusalem. ‘Abomination of Desolation’ was term used throughout the Old & New Testaments to describe forbidden cult objects. The Book of the Law says that the Stele of Revealing would also be called by the same title.

We know that Crowley had knowledge of the Carthaginian ritual figure and Mathers’ theories concerning its similarity with the Secret Seal of Solomon. He would also, given his fundamentalist upbringing, have been aware of the association in the Old Testament between a Tophet and the ‘Abomination of Desolation’. Reports of the recent discovery of carved stelae at a Tophet on Sicily may have inspired him to give the Memorial Pillar at Cefalu its intriguing shape.

GARY DICKINSON’S Masterpieces

7. Fallen Idol - The Seal of Bael.

Acrylic on canvas

20cm x 20cm x 3.5cm

The Prophet Jeremiah raged against the Hebrews for creating a Tophet and placing ‘abominations’ in the Temple at Jerusalem. ‘Abomination of Desolation’ was term used throughout the Old & New Testaments to describe forbidden cult objects. The Book of the Law says that the Stele of Revealing would also be called by the same title.

We know that Crowley had knowledge of the Carthaginian ritual figure and Mathers’ theories concerning its similarity with the Secret Seal of Solomon. He would also, given his fundamentalist upbringing, have been aware of the association in the Old Testament between a Tophet and the ‘Abomination of Desolation’. Reports of the recent discovery of carved stelae at a Tophet on Sicily may have inspired him to give the Memorial Pillar at Cefalu its intriguing shape.

GARY DICKINSON’S Masterpieces
6. The Secret Seal of Solomon
Acrylic on canvas
20cm x 20cm x 3.5cm
According to legend, King Solomon used the Secret Seal to imprison 72 spirits in a vessel of brass which was thrown into a lake near Babylon. The legend gave rise to the story of a fisherman releasing a genie from a bottle he found on the shore. 
In 1904, Crowley published Mathers’ notes and drawings in his Goetia, the first part of a grimoire called The Lemegeton. An old if not ancient magical work, the Goetia deals with the ceremonial evocation of 72 so-called ‘evil spirits’. In fact many of these spirits bear the names of ancient Gods, ‘fallen idols’ condemned to ‘hell’ by the church.

GARY DICKINSON’S Masterpieces

6. The Secret Seal of Solomon

Acrylic on canvas

20cm x 20cm x 3.5cm

According to legend, King Solomon used the Secret Seal to imprison 72 spirits in a vessel of brass which was thrown into a lake near Babylon. The legend gave rise to the story of a fisherman releasing a genie from a bottle he found on the shore. 

In 1904, Crowley published Mathers’ notes and drawings in his Goetia, the first part of a grimoire called The Lemegeton. An old if not ancient magical work, the Goetia deals with the ceremonial evocation of 72 so-called ‘evil spirits’. In fact many of these spirits bear the names of ancient Gods, ‘fallen idols’ condemned to ‘hell’ by the church.

GARY DICKINSON’S Masterpieces
5. The Equinox of the Gods
Acrylic on papyrus
58cm x 47.5cm framed
The shape of the Memorial Pillar at Cefalu may be derived from ancient symbols representing rudimentary human forms with upraised arms.
 In 1921, amataeur archaeologist Joseph Whitaker published a report on his discovery of a Phoenician/Cathaginian sacred enclosure or Tophet on the Western coast of Sicily. Crowley may have seen local reports of the discovery.
 The burials in the Tophet were marked by stone stelae decorated with simple human figures shown with upraised arms. Macgregor Mathers noted similarities between examples of these Carthaginian figures in the Louvre and the central motif of the Secret Seal of Solomon.

GARY DICKINSON’S Masterpieces

5. The Equinox of the Gods

Acrylic on papyrus

58cm x 47.5cm framed

The shape of the Memorial Pillar at Cefalu may be derived from ancient symbols representing rudimentary human forms with upraised arms.

 In 1921, amataeur archaeologist Joseph Whitaker published a report on his discovery of a Phoenician/Cathaginian sacred enclosure or Tophet on the Western coast of Sicily. Crowley may have seen local reports of the discovery.

 The burials in the Tophet were marked by stone stelae decorated with simple human figures shown with upraised arms. Macgregor Mathers noted similarities between examples of these Carthaginian figures in the Louvre and the central motif of the Secret Seal of Solomon.

GARY DICKINSON’S Masterpieces
A copy of a 1970’s period Stele of Revealing. 
Acrylic on hard plaster
25.5cm x 15cm
Since the original 1904 Abstruction, each generation of Thelemites have created their own versions of the Stele of Revealing. These vary, of course, in style and quality according to the information and materials available at the time and the skill of those who created them. 
The 1970s was a period of growing interest in the occult in general and Crowley in particular. Many of Crowley’s works began to be re-published and commercial reproductions of the Stele of Revealing became available for the first time.
The copy of a 1970s Stele offered here was cast in hard plaster from a mould taken directly off an original example. Showing only the face or obverse side of the Stele, the familiar figures and hieroglyphs are raised in low relief. The colours and naive painting style have been very carefully copied to capture the essence of the original work

GARY DICKINSON’S Masterpieces

A copy of a 1970’s period Stele of Revealing. 

Acrylic on hard plaster

25.5cm x 15cm

Since the original 1904 Abstruction, each generation of Thelemites have created their own versions of the Stele of Revealing. These vary, of course, in style and quality according to the information and materials available at the time and the skill of those who created them. 

The 1970s was a period of growing interest in the occult in general and Crowley in particular. Many of Crowley’s works began to be re-published and commercial reproductions of the Stele of Revealing became available for the first time.

The copy of a 1970s Stele offered here was cast in hard plaster from a mould taken directly off an original example. Showing only the face or obverse side of the Stele, the familiar figures and hieroglyphs are raised in low relief. The colours and naive painting style have been very carefully copied to capture the essence of the original work

GARY DICKINSON’S Masterpieces
A reconstruction of the Stele of Revealing as it may have looked in antiquity.
Acrylic on gessoed fibre-board with detatcheable ornamental finial of gessoed balsa wood.
62cm total height x 52cm x 2cm

GARY DICKINSON’S Masterpieces

A reconstruction of the Stele of Revealing as it may have looked in antiquity.

Acrylic on gessoed fibre-board with detatcheable ornamental finial of gessoed balsa wood.

62cm total height x 52cm x 2cm