Spiritual Objects are more than Psychological Foci

The power of sacred objects -- a very big subject.

There are numerous practices for making sacred objects which really do have a life of their own, and numerous examples of interaction with them. They will only be comprehensible to those who understand chi flow. Some methods involve what in Hermetics have come to be known as 'fluid condensers' -- substances that absorb chi or energy. Recipes range from simple to extremely complex. I've used simple ones, based on calendula for example, and they work. Take your liquid and paint it onto an object -- hey presto, the object will be able to absorb chi and become 'energized'.

Statues and pictures can be enlivened by the same method. Bardon gives good instructions. Such items were well-known to the Ancient Greeks. Medea's process in making her living statue of Artemis, involving pharmaka or herbs, doesn't seem to differ much from the modern approach -- see Talismans and Trojan Horses by Faraone. Hephaestus and Daedalus were responsible for a number of Greek living statues having remarkable reputed powers. It was Hephaestus who made the dogs at the door of the palace of Alcinous in the Odyssey. The Hermetic Asclepius gives details on how such statues foretold the future and meted out justice.

If the Greeks practiced this, the Egyptians (like the Assyrians for that matter) did so even more I suspect. The Buddhists still do such things, with their stupas for example, if reports are to be believed. The Hindu ‘murti’ are another instance.

More than one person has also insisted the British Museum is crowded with very old objects that remain ‘alive’. A well-known teacher and writer on astrology, for example, told me that a statue of an Egyptian goddess had spoken to him on a visit there. He wasn’t usually one for this kind of woo-woo, more the staid and academic type. (To his consternation she still speaks to him even though he’s back in the states.)

Most people in that museum will go to the Egyptian stuff first if they are looking for ‘ensouled’ items. But not Glenn Morris -- he always headed straight for the Japanese swords. He used to say there were a couple in the British Museum still ‘putting out’ (chi), and in a not-altogether-nice vibe at that. Since much else he told me has turned out accurate, I believe him.

Glenn’s story of his sword Lydia, from his great Path Notes of an American Ninja Master, is a very cute tale, here is Glenn’s inimitable telling:

I have an old sword made by Yoshida Tamekichi of Seki. It’s a night sword, which means the blade is mottled and smoky in appearance so that it’s hard to see. Same principle as bluing a knife or gun. I bought it from an antique dealer for $75 as it was pretty beat up and the bloodstains in the officer handle wrappings weren’t particularly attractive. Its owner probably didn’t make it home. Every time I tried to sharpen it or clean it up, I’d get cut – once to the bone on my left thumb knuckle. I read a biography of Tesshu (one of the last great samurai swordsmen to achieve enlightenment) and decided to try running energy into the blade as well as meditating with it in my lap. One night as I was meditating the sword became very cold and a woman’s voice spoke to me saying, “You keep that ninja to (short straight-bladed sword favored by boat warriors) beside your bed instead of me. How can you be such a fool? Don’t you know I deserve better treatment than this?!”

I got up, moved the to out of the bedroom, and put her beside my bed. She has been light and easy to handle ever since. I haven’t been cut since. I had her scabbard and handle decorated by my mystical jeweller friend for a whopping fee. I had her nose redone even though it dropped her value as a bushido collector’s item by ten thousand dollars. The sword sometimes seems to move about me on her own when I do sword drills as a form of compassionate compensation. I don’t have the faintest idea how a swordmaker trapped a female spirit in a sword three hundred years ago.

Glenn named the sword ‘Lydia’ after Kenneth Roberts’ Lydia Bailey, and passed it on to his student Rob Williams before his death:



So don't believe anyone who tells you magic items appear only in D&D games! Nor anyone who says that there is nothing more to them than 'belief'. Idolatry's future is bright.

[athribiristan]

Great post. Any object can become a focus. In fact you don't even need an object really. Although every time I create a spirit item I always attract a physical one to represent it pretty quickly.

Do you make use of fluid condensers? I was very impressed with how well those worked... what kind of methods do you prefer if you like to talk about that?

Interesting! I am reminded of a few years ago when I was examining the work of a pagan craftsman. All his items were imbued with chi and intent. He made masks by draping plaster-of-paris soaked bandages across his face, then painting them. One was all vibrant greens and reds and I could feel the elemental energy in it before I picked it up. I was really tempted to buy it... but wary of what such a powerful object would do to my home. I opted for a lovely small yew wand instead.

Sounds like he knew what he was doing!

Going by the power that was in those objects, he certainly did, Propkopton.

And how's the wand?

It lives in a velvet case and does very little... I never found it was the right time to use it.

[athribiristan]

Originally Posted by Prokopton

Do you make use of fluid condensers? I was very impressed with how well those worked... what kind of methods do you prefer if you like to talk about that?

I work with symbology, concept, intention, and energy. I choose a symbol or object that represents the concept I want to work with. Then I focus the intention that I wish to accomplish by way of that concept. Then I push energy into it until it becomes self sustaining. Whether I start with a physical object or not I usually end up with one. My only caution is to be very clear what your intention is before you get started or you may end up with a powerful construct that does something other than you intended.

Not sure what a fluid condenser is exactly by my methods are very effective for me.

Originally Posted by athribiristan

I work with symbology, concept, intention, and energy. I choose a symbol or object that represents the concept I want to work with. Then I focus the intention that I wish to accomplish by way of that concept. Then I push energy into it until it becomes self sustaining. Whether I start with a physical object or not I usually end up with one. My only caution is to be very clear what your intention is before you get started or you may end up with a powerful construct that does something other than you intended.

Not sure what a fluid condenser is exactly by my methods are very effective for me.

athribiristan,

This sounds very similar to what I do in practice and ritual. Do you choose an object or symbol based on what I refer to as 'a drawing' to it?

nightowl