Lust, the Christian mouse trap P.1
Modern Art: Its Occult Beginnings
If we look at history, we see that Art itself has been the true god of the Yahweh-less man. Statues of Idols “the works of human hands” are the things that were venerated and worshipped as deities. Men naturally applied their imaginations to these works and attributed spiritual powers to them (even though said powers were fictional). Continuing from our teaching about the renaissance, when Paganism once again invaded Europe, it was the ancient form and styles of art which engaged the minds on mass moving them towards rebellion against scriptural righteousness and ethical living. We now must fast forward to the more modern era. We shall see that the effects of the renaissance have never completely faded. There were many religious reformations of different degrees and sorts that took place after the renaissance and the 1900’s but the cankering disease of freedom from all moral rule was now a staple in the mind of everyone. Artists who in a form were rebels against the old standard began deconstructing even the pagonic classical forms, and set out to create something radically new. In their search to define their new arts, they turned to occultism and gained strength through its philosophies. In this article we will discuss how modern art embraced Anti-Messianic ideals writ large to come to the place it is today, and we will also see how occultism / paganism is one to one with the modern dysfunctional forms we take as normal today.
KUPKA Frantisek
"Czech painter and graphic artist, born in 1871 at Dobruska, Bohemia, died in 1957. Kupka studied at the School of Fine Arts in Prague. To support himself, he gave lessons in religion and worked as a medium at spiritual séances. He was immersed in the thought of the French eighteenth century, and so was overwhelmed by an exhibition of the Impressionists in a Prague gallery. In 1991 he studied in Vienna and, in 1895, in Paris, where he has lived ever since. He studied from Nature and greatly admired Rodin and Toulouse-Lautrec. He undertook some important illustrative work: Lysistrata, Prometheus of Aeschylus and Les Erinnyes of Leconte de Lisle. He learnt Hebrew when commissioned by Élie Faure to make drawings for a new translation of the Song of Songs. His studio had the calm atmosphere of a religious workshop. From 1906 on his painting changed profoundly; his technical development served in imagination which saw beyond appearances. In his landscapes Kupka sought the distortions of bodies in water and expressed them in cold, strident colours." (http://serdar-hizli-art.com/modern_painting/kupka_frantisek.htm)
He claimed his paintings illustrated ideas in science, physics, astronomy, and biology, in all of which he was widely read. He was also knowledgeable about world religions and was particularly interested in the modern esoteric religion Theosophy, which tried to reconcile spiritualism with science. Throughout his life Kupka had a strong interest and, some claim, an involvement with the occult. (frantisek kupka; encyclopedia of world biography)
Two other pioneers, Frantisek Kupka, a Czech, and Kasimir Malevitch, a Russian who in 1914 and 1915 exhibited a series of squares on plain backgrounds, were also avid readers of theosophy and other metaphysical works. Kupka studied Greek, German and Oriental philosophy, along with a variety of theosophical texts. Douglas writes that the aesthetics of Malevich and his circle "resulted from a unified world view that encompassed all dichotomies; for them science and Eastern mystical ideas were seamlessly joined in a conceptual continuum, and knowledge of the world might be obtained by beginning at any point." (Christian Century, September 30, 1987, p. 819: http://www.religion-online.org/showarticle.asp?title=1065)
Piet Moderan
In the period that saw the genesis of abstract art—roughly the decade beginning in 1910—what is particularly striking about the outlook of the artists primarily responsible for creating abstraction is their espousal of occult doctrine. So prevalent was a steadfast belief in the occult among the pioneers of abstract art—not only Mondrian but also Kandinsky, Malevich, and a good many of their disciples— that we have no alternative but to regard such doctrine as a basic component of their artistic vision.
But meanwhile, in the spiritually imperfect present, an art that aspired to make itself the instrument of pure spirit—to align itself with what Kandinsky described in "On the Spiritual in Art" as the struggle toward the non-naturalistic, the abstract, toward inner nature—had no alternative but to make its case as an earthly cultural enterprise. … It was for this reason that even the most mystical of the pioneer creators of abstract art found themselves engaged in a dialectic that embraced two very different aspirations—on the one hand, that of advanced artistic thought, with its headlong drive to discover new modalities of pictorial expression, and, on the other, that of a spiritual ideal that looked upon art as a means to an end that transcended art itself.
The occult symbolism is clearly defined in this modernist work. This work employs almost every technique termed a modernist style.
But the truth is that in every realm of high endeavour in which we find mysticism serving as a spur and an ideal—in movements of political revolution and campaigns for sexual emancipation, for example, no less than in avant-garde art movements—this loyalty to occult doctrine has proven to be a powerful incentive to practical achievement. Within the imaginative faculties there is nothing that so stirs the will to accomplish extraordinary things as the conviction that one is possessed of absolute knowledge about the ultimate destiny of human affairs. This was precisely the kind of mystical conviction that the pioneer creators of abstraction brought not only to their own innovations as artists but to the formation of avant-garde movements that changed the direction of modernist art and greatly expanded the place it would come to occupy in modern cultural life.
It is this belief in the absolute that accounts for the speed as well as the confidence which the pioneers of abstraction brought to their break with what they saw as the last vestiges of representation in art, and for the success they achieved in winning converts to their radical view of artistic expression. These artist-acolytes of the occult really did believe they were fulfilling a unique spiritual mission in this fateful act of artistic innovation, and they persuaded a great many others to join them in that belief. Theirs was, in this sense, a religious movement as well as an artistic one, and they brought to it the kind of intensely felt faith that we associate with spiritual yearning and religious conversion.
In the latest developments of the art of their time, which in the case of Cubism had already brought painting to the very verge of abandoning representation, they shrewdly discerned a “logic” that cried out for completion. This gave to abstraction a powerful sense of purpose—a kind of ontological imperative—that was all the more compelling when combined with the promise of a spiritual vocation. As artists, the pioneers of abstraction had largely mastered in their earlier paintings the rapid succession of styles that had moved from Realism and Impressionism to the Post-Impressionist, Fauvist, Expressionist, and Cubist art which dominated the European avant-garde in the last decade of the nineteenth century and the first decade of the twentieth.
The doctrinaire abstraction that was rooted in theosophical ideas was therefore seen to constitute, in the early years of its development, a counter-avant-garde opposed to the mainstream artistic interests of the School of Paris. It was, as far as Paris was concerned, virtually an underground movement that did not enjoy the critical acclaim, or even the kind of critical scandal, that had marked the emergence of Fauvism and Cubism before the First World War and would again mark the emergence of Dada and Surrealism in the years following the war.
“Plastic Mathematics is a "positive mysticism" in which "we translate reality into constructions controlled by our reason, later to recover these constructions in nature, thus penetrating matter with plastic vision". Schpenmaeker believed that the new plastic expression (Neoplasticism), born of light and sound, would create a heaven on earth.”
(Modern Architecture, Alan Colquhoun)What is remarkable about ‘The New Plastic in Painting’ is not only its triumphal affirmation of pure abstraction as an aesthetic “absolute”—a word that was repeatedly sounded throughout the manifesto—but the anxious attention that is lavished on the need to emancipate painting from the thralldom of what is variously called ‘nature’s appearance,’ ‘naturalistic representation,’ ‘naturalistic form,’’naturalistic color,’ and so on. Nature haunts the pages of ‘The New Plastic in Painting’ like a spectre that can be neither exorcised nor appeased. It can only be resisted by an act of transcendent artistic conscience that makes the pursuit of the ‘universal’ a quest so absolute that all the contingencies of nature are stripped of their importance.
(Mondrian & mysticism ’My long search is over’ by Hilton Kramer; http://www.redbubble.com/painters-in-modern-times/forums/560/topics/10823-mondrian-positive-mysticism-and-plastic-mathematics-article)
Conclusion
What Mondrian purposed to do was strip creation of its realness, and for that substitute a fakeness. The purpose in doing such was to create a new aesthetic reality wholly made in the image of man, and entirely new. In the process of wanting such a radical change, he came up with his own philosophy called Neoplasticism, and from this philosophy we get our modern vector art. Problem is that this new art form, although mimicking reality, is not. And this fake reality makes children equate visual representations with the real thing. The sort of problems this produces is not fully ascertained, but he felt as though it would change human kind in a radical form, and thus we see his artistic effects implemented in children’s cartoons. Everything here is rooted in Theosophy and the occult.
Picasso and the Occult
Pablo Picasso Evil behind his expression:
"No, painting is not made to decorate apartments, it’s an offensive and defensive weapon against the enemy." (Tery, Picasso, n’est pas officer dans l’Armee francaise, Les Lettres Francaises, March 24, 1945)
"We all know that art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies." (The Arts, Picasso Speaks, 1923)
"What is truth? Truth cannot exist. … Truth does not exist. … Truth is a lie." (Parmelin, Picasso: The Artist, His Model, and Other Related Works, 1965, p. 110)
The DADA Movement
We see that modern art, with its abstractions and deconstructions of reality, are highly influenced by the occult ideas of men gaining all knowledge and art as a form of ascension from this realm to one greater. If we have a generation who hungers to mimic artists who’ve used occult means in order to express new forms of creativity, it is only rational to see that our endeavours and appreciations of orderly conduct are going backwards instead of forwards. The problem with abstract art is that it makes something that it ugly, disordered, and bizarre, to seem as though it’s beautiful, charming and acceptable. This is how evil transmutes itself into goodness.
Dysfunction made fitting:
Underground becomes main stream
Punk Rock made acceptable:
There was once a time in both American and Canada when strangely colourer hair was highly disapproved. But with an influx of new styles, and the blurring of moral standards, we can find our politicians with pink streaks in their hair. Why is this important? Such things are meaningful to observe because they represent how society is descending into the depth of anarchy, and accepting thinds they once abhorred due to their unnaturalness and blatant rebellion.
Punk first emerged in the mid 1970s in London as an anarchist and aggressive movement. About 200 young people defined themselves as part of an anti-fashion urban youth street cultural movement. Closely aligned was a music movement that took the name punk…The clothes suited the lifestyle of those with limited cash due to unemployment and the general low income school leavers…Punks cut up old clothes from charity and thrift shops, destroyed the fabric and refashioned outfits in a manner then thought a crude construction technique, making garments designed to attract attention… in the 1970s it shocked many people, because it had never been seen before.
Body piercing was done in parts other than the usually accepted placement of the ear lobe. The placement of studs and pins in face, body parts such as eyebrows and cheeks, noses or lips, for the masses was then quite unusual even after the freedom of the 1960s.
Here we see punk influence in the media. In fact, such an influence is just more conditioning. Dysfunction is fed, but by the tea spoon.
-FROM GOOD TO UGLY-
Here are a few images of stars in their natural states, then them when influenced by the trends.
Miley Cirus
Beyonce Knowles
Rihanna
Little children have no choice but to copy the fads because if they don’t they will be overlooked and left alone. This world becomes dysfunctional one degree at a time. Just that normal has adopted elements of what was once anarchy shows that ethical lines have not only been blurred, but completely eroded away.
Tattoos
Ye shall not … print any marks upon you: I am YAHWEH.
Leviticus 19:28
Tattoo enthusiast and historian, Steve Gilbert, in his popular, Tattoo History: A Source Book, cites some of the historical facts Hambly [a tattoo historian] found in his extensive research.
[Hambly] "retailed a wealth of examples which he had culled from field work by anthropologists in many parts of the world. Tattooing was supposed to: prevent pain; protect against gunshot wounds; cur illness; confer superhuman strength; preserve youth; enhance the supernatural powers of a shaman; ensure the survival of the soul after death; identify the soul in the hereafter; attract good luck; protect against witchcraft; ensure the protection of a deity; confer occult powers; prevent drowning; exorcise demons; ensure the protection of a totemic animal or spiritual guardian; record a pilgrimage to a holy place, etc. . .
This blue bowl (c. 1300 B.C.), housed in the Rijksmuseum van Oudheden in Leiden, Amsterdam, features a musician tattooed with an image of the household deity Bes on her thigh. (http://www.smithsonianmag.com/history-archaeology/10023606.html#)
"the worship of the sun-god Baal had involved the marking of the hands [tattoos] with the divine token in a mystic attempt to acquire strength."
(Ronald Scutt, Art, Sex and Symbol, 1974, p. 64)
[Tattooing] "[Is] association with sun-worship, megalithic building, ear-piercing, serpent worship"
(Ronald Scutt, Art, Sex and Symbol, 1974, p. 22)
"The reasons why puncturing the skin should be regarded with some degree of awe are not far to seek, for in the first place, there is the drawing of blood, which to the savage world over is full of significance as a rejuvenating and immortalizing factor. There is in addition to the opening of numerous inlets for evil to enter. . ."
(Hambly Wilfrid D. 1925. The History of Tattooing and its Significance, p. 233, cited in Gilbert, Steve, Tattoo History: A Source Book, p. 162)
"Tattooing is often a magical rite in the more traditional cultures, and the tattooist is respected as a priest or shaman."
(Michelle Delio, Tattoo: The Exotic Art of Skin Decoration, p. 73)"The actual tattooing process, which involved complex ritual and taboos, could only be done by priests and was associated with beliefs which were secrets known only to members of the priestly caste. . . Hambly concluded that historically tattooing had originated in connection with ancient rites of scarification and bloodletting which were associated with religious practices intended to put the human soul in harmony with supernatural forces and ensure continuity between this life and the next." (Gilbert, Steve, Tattoo History: A Source Book, p. 158)
Tattooing is a return to mans pagonic histories, it is a complete circle. The issue with such an “art form” is that it desecrates something that Yahweh made perfect. We are given clothing to adorn ourselves, so things such as ink under the skin shouldn’t be required, especially when Yahweh told us not to do it. This prohibition was meant to separate the Israelites from the pagan tribes, today not having a tattoo symbolises a certain purity. Since Tattoos are rife in popularity, those without them stand apart as almost odd. Christians should stand up for the beauty of original form.
Degradation in Fashion
In 1971 these sinful jeans hit the market. Created by two Italian men who used the scripture to promote licentiousness, these designers were only mimicking their forefathers found in the humanism of the Renaissance.
How fashions have changed over time
“The knee-length hemline from the 1920’s stayed in place for about 30 years or so. The conservative 1950’s were followed by a great decade of revolution. This decade brought the miniskirt into the limelight and this new hemline caused quite a fashion stir during its time. Hemlines rose to unheard of heights during this decade and many of us typically think of the sixties when we think of the mini.” (http://www.dressandskirt.com/dresses-and-skirts.htm)
Modern levels
Modesty has jumped screaming out the window. If a person from the 1920’s arrived in a time machine to 2011, I’m sure they would presume themselves to be in what was mystically imagined as a level of hell.
New female trend, showing the thong
A male trend popularized by Prison culture and spread through Hip hop, the exposure of the entire buttocks
What’s wrong with what we wear?
“8Hear, O my people, and I will testify unto thee: O Israel, if thou wilt hearken unto me;
9There shall no strange god be in thee; neither shalt thou worship any strange god.
10I am the LORD thy God, which brought thee out of the land of Egypt: open thy mouth wide, and I will fill it.
11But my people would not hearken to my voice; and Israel would none of me.
12So I gave them up unto their own hearts’ lust: and they walked in their own counsels.
13Oh that my people had hearkened unto me, and Israel had walked in my ways!” (Psalm 81)
What we adorn ourselves in represents what we cherish. Many brands become idols in the sight of Yahweh because they are representative signs of pagan gods and goddesses. We must be aware of these symbols, with placing them on our bodies we propagate their messages through our wearing them. The coming revelations will leave you shocked or angered. Will you destroy these idols or remain wearing them to be like everyone else?
Nike
“Nike is the Greek goddess of victory. She presided over the earliest battlefields, and since the 1928 Summer Olympic Games, every Olympic medal bears Nike’s figure holding a palm frond in her left hand and a winner’s crown in her right. The Nike SWOOSH came about in 1971. It represents the wing of the Greek goddess Nike.” ( http://inside.nike.com/blogs/nikewomen-en_US/2009/12/22/nike-goddess)
“The logo represents the wing of the Greek Goddess.The Nike logo is a classic case of a company gradually simplifying its corporate identity as its frame increases. The company’s first logo appeared in 1971, when the word "Nike," the Greek goddess of victory, was printed in orange over the outline of a checkmark, the sign of a positive mark. Used as a motif on sports shoes since the 1970s, this checkmark is now so recognizable that the company name itself has became superfluous.”
Converse
The Pentagram, period.
Versace
“Medusa Gorgon Goddess of Righteous Wrath. In some traditions she was a serpent goddess of the Libyan Amazons and represented female wisdom. In others she was an Anatolian Sun Goddess. Medusa is identical with the Crone or Destroyer aspect of the dark Egyptian goddess Nieth; she was also one member of the triple personae of the North African goddess An-Ath. When that goddess was imported by the Greeks as patroness of Athens, Medusa’s fierce visage was embossed on Athena’s shield.”
Gucci and Chanel
Barbara Walker hypothesizes in her book, The Woman’s Dictionary of Symbols and Sacred Objects, that the Ichthys was the son of the pagan sea goddess Atargatis. She also posits that the Ichthys symbol was a representation of sexuality and fertility. It is also a symbol for the Goddess Venus.
Lululemon
This franchise supports Indian Yoga, and derives its symbol from Astrology. It’ anti-Messianic ideals are self explanatory.
Parasuco
Greek chimera, a evil deity in Greek mythology
Mercedes goddess worship
The Mercedes comes from Germany, and it in itself is an embodiment of Envy and Vanity. The reason it is so evil is because its symbol is from occult / pagan roots. These vehicles are the sorts that ethical Yahweh loving followers of Messiah should not hunger to own. If you do own one, like I once did, you will quickly realize that the negative attention it brings is not pure. You will see why and how they become idols in your life. These vehicles are idols through and through, and yes they are coveted by the world for a reason.
The triskelion is a symbol formed by three of almost anything conjoined and radiating from the center—triangles, commas, lines, circles, tear or water drops, trombone slides, arms, or legs. Such symbols are very widespread in human cultures and are found all the way from Celtic mythology to Buddhist art.
The Triskelion is the triple-triangle form of fate (or the fates). Three rings were supposed to invoke the three fates in several ancient traditions. The number three is particularly sacred to the celts – the used a triple cycle for the seasons, and for many magical patterns. Celtic goddesses frequently appear in triple form – from ancient times, the great earth mother was a trinity, representing her three aspects, maiden, mother and crone. The triskele is a three-legged pattern with a variety of manifestations in romano-British art. … The triskele pattern is often used as a magical charm- probably to avert evil. Spirals are among the most sacred signs of Neolithic Europe, symbolizing the womb, death and re-birth, they appear on megalithic monuments, entrances to caves – sacred places of worship, all over the continent and the British isles, such as Newgrange in Ireland, and Gavrinis in Brittany. The spiral was a particular symbol of the Goddess faith. Spirals also symbolized the coiled serpent or dragon, both regarded as sacred in the old religion, representing the natural energies of the earth and sky.
Bmw Sun worship
This logo is perfectly sun worship, period.
Above Greek sun crosses
Below diverse and similar sun crosses
In Conclusion
So we see good followers of Messiah, in order to keep ourselves un-tainted from the world we need to study showing ourselves approved, and be wise in all things we take part in. Many of you will read this wisdom and shrug it off, but now since you gave been taught and do understand that idolatry exists in nearly everything, from abstract art to fashion trends, we must clean up our lives and acts, and have them resemble a more Yahwehli kind of vision. Yahweh hates Idols, and coveting such will definitely remain a block from His full blessings entering your life.
PILGRIMS PROGRESS VANITY FAIR
This is an excerpt from Bunyan’s “Pilgrims progress” and it represents vanity fair. This fair is the culmination of all things anti-Messiah, and it actually represents all the things our world holds dear. I recommend the novel “Pilgrams Progress” for it is beneficial for every Christian to at least read once.
“Then I saw in my dreams, that, when they were out of the wilderness, they presently saw a town before them, and the name of that town is Vanity; and at the town there is a fair kept, called Vanity Fair. It is kept all the year long. It bears the name of Vanity Fair, because the town where it is kept is lighter that vanity, and also because all that is sold there, or that comes there, is vanity; as is the saying of the Wise, �All that cometh is vanity.�
This is no newly begun business, but a thing of ancient standing. I will show you the original of it.
Almost five thousand years ago, there were pilgrims walking to the Celestial city, as these as these two honest persons are; and Beelzebub, Apollyon, and Legion, with their companions seeing that the path of the pilgrims lay through this town of Vanity, set up a fair; a fair where they would see all sorts of vanity, and it should last all the year long. Therefore at this fair are all such things sold as houses, lands, trades, places, honors, preferments, titles, countries, kingdoms, lusts, pleasures, and delights of all sorts, as wives, husbands, children, masters, servants, lives, blood, bodies, souls, silver, gold, pearls, precious stones, and what not.
At this fair there are at all times to be seen jugglings, cheats, games, plays, fools, apes, knaves, and rogues, and that of every kind.
Also, there are several rows and streets under their proper names, where such and such wares are sold, such as Britain Row, the French Row, the Italian row, the Spanish Row, the German Row, where several sorts of vanities are to be sold. Also the wares of Rome are greatly promoted in this fair.”
Yahweh and Yahshua Bless you and Keep you. More articles in this vein coming soon.
Give Yahweh the Weightiness.
