MAN THE CREATOR

THE ART AND SCIENCE OF TELESTIC MAGIC

The theory and praxis of invoking a divine current to into an inanimate object, such as a statue, rock, plant or part of an animal, is a form of ceremonial magic within the framework of theurgy. Theurgy can be described as magical rites that are executed with the purpose of invoking a divine current or a specific deity so the theurgist can achieve henosis, which according to Neoplatonic philosophy, Mystery Religions and Hermes Trismegistus, is the divine act of achieving union with the Monad, Source or One. The magical concept of invocation is a fundamental principle of theurgy. By invocation, one can refer to the idea of a spiritual being possessing the theurgist through a series of supplications or prayers, magical rites and final self-identification with the invoked spiritual being. According to Aleister Crowley,

To ‘invoke’ is to ‘call in’, just as to ‘evoke’ is to ‘call forth’. This is the essential difference between the two branches of Magick. In invocation, the macrocosm floods the consciousness. In evocation, the magician, having become the macrocosm, creates a microcosm.[1]

The idea of invoking a spirit into an inanimate object was seen as relic of fetishism, and therefore ‘primitive’ and fallacious. However, Iamblichus argues in On the Mysteries that since all matter came into existence from the Divine Creator, all matter can receive heavenly influences and powers. This wisely echoes the Hermetic axiom of As above, so below. This understanding of spirit being able to possess matter on command of the theurgist led to the growth of telestic magic, which is a theurgical practice with the intention of calling down a spiritual being to possess an inanimate object, such as a statue. This inanimate object then becomes a vehicle of the divine current invoked and an abode on earthly plane for the spiritual being.

The roots of the art of god-making, or telestic magic, lurk somewhere within the dawn of the Ancient Egyptian civilisation. A remarkable feature of Ancient Egyptian religious thought was the belief that the gods could be compelled through ritual magic, barbarous names and arcane words of power. This attitude is clearly expressed in the words of Hermes Trismegistus, For man is a being of divine nature; he is comparable, not to the other living creatures upon the earth, but to the gods in heaven. Nay, if we speak the truth without fear, he who is indeed a man is even above the gods of heaven, or at any rate he equals them in power. [2]

There is another instance where Hermes Trismegistus is engaged in dialogue with Asclepius concerning the attitudes the Egyptians had towards god-making when he says, Again, there is my grandfather Hermes, whose name I bear. Has he not taken up his abode in his native city, which is named after him, and does he not help and safeguard all mortal men who come to him from every quarter? And Isis too, the wife of Osiris – do we not know how many boons she confers when she is gracious, and how many men she harms when she is angry?[3]

What Hermes is referring to here is most probably the idea of statues of the deities having been charged through telestic magic with the divine powers of the invoked deities, powers invoked to bless and protect their city and its inhabitants. To a foreigner, a hierophant of the Egyptian Mysteries revering a statue of a deity might seem as if they were worshipping the image of the god. However, placed within the framework of the art of god-making, it becomes apparent that they would not be worshipping the god in the form of a statue but were deliberately manipulating and channelling a specific occult potential.

There are passages in Asclepius, where Hermes Trismegistus is revealing to Asclepius the spiritual philosophy that underlies the magical praxis of humans fashioning terrestrial gods and then placing them in temples as sources of divine energies. To Asclepius he speaks, Even as the Master and Father, or, to call him by his highest name, even as God is the maker of the gods of heaven, so man is the fashioner of the gods who dwell in temples and are content to have men for their neighbours. Thus man not only receives the light of divine life, but gives it also; he not only makes his way upward to God, but he even fashions gods... But the gods whose shapes are fashioned by mankind are made of both substances, that is, of the divine substance, which is purer and far nobler, and the substance which is lower than man, namely, the material of which they are wrought; and they are fashioned not in the shape of a head alone, but in the shape of a body with all its members... just as the Father and Master made the gods of heaven eternal, that they might resemble him who made them, even so do men also fashion their gods in the likeness of their own aspect.

In response to this Asclepius asks, Do you mean statues, Trismegistus?

And Hermes replies, Yes Asclepius. See how even you give way to doubt! I mean statues, but statues living and conscious, filled with the breath of life, and doing many mighty works; statues which have foreknowledge, and predict future events by the drawing of lots, and by prophetic inspiration, and by dreams, and in many other ways; statues which inflict diseases and heal them, dispensing sorrow and joy according to men’s deserts.[4]

Greek philosophers and earlier Christians were not sympathetic towards these practices. It was not until the advent of Neoplatonism that one discerns a positive attitude towards theurgy and telestic magical practices. Plotinus saw in the ancient religious practices of the Egyptians a powerful insight into the nature of the All. They perceived the omnipresence of the Soul and it was wise of them to create vessels to receive some portion of it. The statues that embodied the gods and spiritual beings were seen as mirrors endeavouring to capture the reflection of the All in its various divine emancipations.

Donald Tyson, in his paper God-making, adequately refers to Hermeas’ Scholia on Plato’s Phaedrus concerning different types of divine inspiration. His view on divine inspiration and the telestic art are clear from where he states, But how are statues said to have enthusiastic energy? May we not say, that a statue being inanimate, does not itself energize about divinity, but the telestic art, purifying the matter if which the statue consists, and placing round it certain characters and symbols, in the first place renders it, through these means, animated, and causes it to receive a certain life from the world; and, in the next place, after this, it prepares the statue to be illuminated by a divine nature, through which it always delivers oracles, as long as it is properly adapted.[5]

To understand the occult mechanisms of the theory and praxis of the telestic art, it is necessary to explore the nature of the two classes of gods which Hermes Trismegistus distinguishes. The first class is referred to as the celestial gods, or id caelestes, whereas the second class are known as the terrestrial gods, or di terreni. The celestial gods reside in the heavenly spheres, which also act as their heavenly bodies. They are believed to be of the purest essence and their astral form is a head alone, alluding to the notion of the divine intellect. These gods are not bound by earthly passions. On the other hand, the terrestrial gods are composed of both divine substance and physical matter. Their abode is within temple statues and sacred animals. Their form is the human shape, with the head signifying intellect and the body alluding to the presence of emotions and desires within their being. The id calaestes are created only by God and rule dispassionately over their domain, whereas the di terreni are involved with their passions over certain earthly events and are fashioned by humans mirroring their creative principles existing both within the microcosm and the macrocosm... As above, so below.

Iamblichus refers to these two classes of spiritual beings as gods and daemons. The invisible gods were the spiritual beings that inhabited the realms of heaven, whereas the visible gods were the stars and planets, and the gods residing in temple statues. Iamblichus identified these gods as being restricted to general principles governing the occult mechanisms of the macrocosm and microcosm. For things governing more particular earthly affairs, the individual would seek out the assistance of a daemon. As Iamblichus states in his sometimes intricate philosophical language, For both the visible and the invisible Gods, indeed comprehend in themselves the whole government of whatever is contained in all heaven and the world, and in the total invisible powers in the universe. But those powers that are allocated a daemonical prefecture, distributing certain divisible portions of the world, govern these, and have themselves a partible form of essence power. They are, likewise, in a certain respect, connascent with, and inseparable from, the subjects of their government... In short, that which is divine is of a ruling nature, and presides over the different orders of beings; but that which is daemonical is of a ministrant nature, and receives whatever the Gods may announce, promptly employing manual operation, as it were, in things which the Gods intellectually perceive, wish, and command. The Gods, therefore, are liberated from the powers which verge to generation; but daemons are not entirely purified from these.[6]

According to Iamblichus, these daemons or lesser gods could be addressed through acts of worship and devotion, but could also be compelled through goetic and theurgic means, such as the use of barbarous names and so on.

The material regarding the processes involved in fashioning the statue that was going to be employed within a telestic rite is scarce. The only source one can refer to are the words of Hermes Trismegistus in the Asclepius. The statue was formed out of some material substance, most probably wood, metal or stone. They would have resembled a human form with its sexual parts accurately represented. According to the Graeco Magical Papyri, the statue had to be hollow so a small sheet of gold could be placed inside with an invocatory formula, magical binding inscription or names of powers inscribed on it. One might also suggest that these temple statues were adorned with specific ritual clothing and jewellery. The eyes would have been clearly crafted because, It is necessary that the eyes of the image be carefully crafted, since these acted as the channels of spiritual energy, both to infuse the soul of the daemon into the statue during the telestic rites, and to receive mental communications from the embodied god during oracular consultation. These eyes must seem to look directly into the eyes of the worshipper during worship, so as to create a link between god and worshipper.[7]

Recognising that the Ancient Egyptians would depict their gods with heads of beasts, there is a great possibility that some of these statues might have had the heads of creatures sacred to the deity.

The status of the telestic statues were different to the other statues in the temples. This is evident from the religious custom of not allowing the general population to set eyes upon the telestic statues of the temple gods. They were kept in an inner chamber or sanctuary, which only the priests could access. Within this sacred space was a miniature Nile boat. The statue was kept inside the cabin and was roughly two feet in height, which suggests that this was the height of the statues. On days sacred to the deity, the Nile boat was taken out for a ritual procession through the streets of the god’s city. However, the temple statue always remained concealed within the cabin.

The more occult elements involved in the telestic art might have been similar to ritual techniques used by contemporary ceremonial magicians. Hermeas, in his Scholia, states that the statue was purified, certain symbols were placed around it and various correspondences were used in the rites, such as symbols and names of power of the deity, occult characters, jewels and incenses corresponding to the nature of the deity and rite. Apart from these occult elements, some kind of rite of purification for the telestic statue would have performed. Invocatory hymns would have been chanted and various visualisations established. The invocations might also have taken place on specific days and times, depending on the god to be invoked.

So, if a Graeco-Egyptian theurgist was to perform a telestic rite focused around Helios, he might have recited the Orphic Hymn to Helios, employed visualisations of Helios as illuminating, all-seeing, world’s commander ruling the seasons and years, summoning the morning and the evening, righteous and punisher of the wicked. His visual representation conjured up in the magician’s imagination would have been the Sun-god emerging from the East riding on a golden chariot drawn by four or nine winged steeds. His appearance would be that of a youthful, strong and beautiful god, with gleaming eyes and wavy fiery locks beneath a golden helmet. The colour of gold would have dominated the colour scheme of the temple, members of the statue might have been made out of gold and frankincense or olibanum would have been burnt. White poplars might have been used as offerings, as they are sacred to Helios. One of the words of power that might have been vibrated would have been ACHEBUKROM, along with the chanting of BERBELOCH CHTHOTHOMI ACH SANDOUM ECHNIN ZAGOUEL.

From my own experiences with ceremonial magic, theurgy and the telestic art, the physical, mental, emotional and spiritual state of the magician are highly crucial and extremely vital. This is something that neither Hermes Trismegistus, Iamblichus and Proclus stress beyond merely hinting at various points. Without being able to heighten the senses, tap into the astral visions, initiate the whirling of the heart and achieve a state of gnosis, regardless of how much incense, herbs, sacred hymns, offerings and so on placed before the temple statue, the outcome of the rite will have a very minimal effect or none at all. The ancient magicians would likely have engaged in rites of purification, such as fasting and abstinence. Their body would have been purified alongside the purification of the temple statue. Divine energies would have been roused through intense acts of devotion, meditation and prayer, aligning the theurgist’s state of being with that of the nature of the rite. Ritual postures and breathing techniques would have played crucial role, alongside the ceremonial invocations demanded by the nature of the telestic rite.[8] These practices would have brought about a state of heightened awareness and receptivity to spiritual and astral influences.

Donald Tyson, in his paper God-making, clearly states, God-making is a genuine phenomenon, not merely a popular delusion or a religious myth. Although carried to its highest perfection among the priest class of Egypt, it was practiced in many ancient cultures, even by the Greeks who later disparaged the telestic art, and indeed it continues to be done in modern times all around the world – most effectively by those who have no idea that they are making gods through their religious devotions towards the statues or images of deities, saints and heroes.[9]

The Christian view of god-making considered it to be an act of blasphemy, which was strongly advocated by St. Augustine. Many Greek philosophers, such as Maximus Tyrius, understood it to be a foolish delusion. The early Christians destroyed all the temple statues in a state of fanatic fervour and hatred towards the ‘pagan’ world. However, what one seems to overlook is the continuity of the concept of temple statues within the Catholic Church, with its countless statues and images of saints, the Virgin Mary and Christ. These are not seen as merely being a product of artistic expression but are treated as abodes of the Holy Spirit. This attitude is clearly expressed in reports of miraculous activities on behalf of these images. The same applies to the Eastern Orthodox Church, with the divine relationship the worshipper has with icons of saints, angels, the Virgin Mary and Christ. Iconography itself is considered one of the holiest of spiritual exercises. So, was it just a matter replacing the gods of the pre-Christian world with the spiritual beings of Christendom? Or was the art of god-making and telestic magic truly a product of fetishist superstition, an act of blasphemy and childish delusions? In my opinion, the truth lies within the first conviction...

A Rite of Telestic Magic

• I. The deity’s physical vessel be should be treated with the upmost respect in its construction, decoration, daily attendance and adoration. It is to be housed in a small sanctuary and placed upon an altar. The altar can either be placed in the centre of the sanctuary space, or in the East, or at the cardinal point corresponding to the deity and nature of the telestic rite. It is forbidden for the profane to enter, touch and set eyes upon the statue. A magical protective circle is to be cast around the statue, visualised as a veil.

  II. The magician should be purified physically, mentally, emotionally and spiritually before entering the sanctuary. This purification can be in the form of ritual bathing, the use and adornment of ritual apparel devoted to the deity and rite, prayers of devotion, fasting and abstinence. All physical, mental, emotional and spiritual energies should be utterly devoted to the invocation of the deity into its physical vessel.

  III. The sanctuary and altar should be decorated and adorned with occult symbols and characters of the god, jewels, incenses and colours corresponding to the deity and the nature of the telestic rite. Appropriate type of music could be played based on a planetary association.

  IV. The sanctuary is to be consecrated with an opening rite and then the statue is to be baptised in the name of the deity and then elementally consecrated with either fire and water or employing all the elements. The statue is to be revered as the god incarnate.

  V. Whenever entering the sanctuary render the veil, perform a series of prayers devoted exclusively to the theurgic work, recite hymns of praise and then invoke the god and powers associated with the rite to activate the elemental and planetary forces in harmony with the whole ritual process. Meditate upon the god and the intent of the rite, pathwork into the sphere of the deity, place offerings upon the temple and move clockwise around the temple reciting a mantra or chanting a hymn of praise. The purpose of this is to spiral the energy creating a vortex around the altar. Visualise and allow your Sphere of Sensation to be become alive with energies being invoked. The number of times the magician encircles the statue could be defined according to the numerological correspondence assigned to the deity.

  VI. On a daily basis, rituals involving invocation, devotion, offerings, communion and visualisations should be performed before the statue. These rituals should follow a set pattern in accordance with the sacred day of the deity, planetary hours and time of day corresponding to the elemental attributes of the nature of the god and deity.

  VII. Acts of devotion towards the god could be in the form of a hymn or song, sung or chanted. Mantras are also quite effective in raising devotional energy. A candle or lamp should be lit to personify the presence of the god in spirit.

  VIII. When invoking the god into the statue, active visualisation pertaining to this occult event must be employed. However, the magician might want to use him/herself as the primary vehicle and then touch the statue, visualising and feeling the deity pass from their physical body into the statue. This can be quite effective as qualities of the deity will remain active within the magician, but they must not be allowed to become dormant. To achieve this, the magician’s Sphere of Sensation should be energised on a daily basis. When calling upon the god, words and names of power and divine attributes should be voiced. For some magicians, the name of a superior power over the god could be called upon. Arcane signs and signatures could be inscribed upon the statue, whilst in a state of magical trance empowered by the repetition of mantric chanting.

  IX. Following the invoking rituals, the magician is to enter into a state of communion with the god. This can begin by placing offerings upon the altar, consecrating and consuming the offerings in the form of a magical Eucharist. The nature and form of communion should unfold into a prayer-like conversation with the god, where the magician projects sentiments of love, adoration and praise as if referring to the beloved. These outpouring emotions can be visualised. The emotional state of the magician during this process should be heightened, aroused and genuine. The magician must visualise, sense and feel that they are in the presence of the deity by employing visualisations corresponding to the nature of the rite and deity. The magician might even want to pathwork into the sphere of the deity and perform the communion there in the sacred space.

There is hardly any information regarding the telestic art as practiced within the religious traditions of the Egyptians and the Greeks. Our most available resources are the words of Hermes Trismegistus, the odd reference to it in Ancient Egyptian papyri and depictions upon the remains of temples and pyramids, the Graeco Magical Papyri and scant archaeological evidence. However, it is to our knowledge that a lot of these arcane truths expressed within the telestic arts, such as the occult correspondences between the heavens and the physical world, the magical conception of the universe, the nature of ritual and the cosmology of the spiritual beings involved, were preserved within many occult works and practices that followed the fall of the magical pre-Christian world. Some of the key features can be found in the study of Egyptian magical texts, Greek mystery rites, Renaissance magic, the Hermetic Qabalah and many more. Even with the rise of magical societies across Europe in more recent centuries, one can sense the presence of these lost rites. Ideas and techniques that lead to a state of gnosis and theurgical union with spiritual beings, the goetic approach to the occult arts, the Enochian words of power, the invocation of one’s Holy Guardian Angel, the Golden Dawn system of the construction of telesmatic images and the empowerment of talismans all bear direct relationship with the telestic arts practiced by the Ancient Egyptians and Greeks.

Due to my own experience with telestic magic, I have included a basic format of a telestic rite. As I have already mentioned, due to lack of sources, creativity, inspiration, vision, gnosis and ritual practice are all key elements in the process of constructing and performing a rite of telestic magic. I myself have performed various rites of telestic magic. One of them was performed within the Golden Dawn tradition of magic, but a recent rite had more of a Graeco-Egyptian ‘spice’ to it, inspired by the Graeco Magical Papyri, the theurgy of Iamblichus and various ideas and symbols inspired by Ancient Alexandria. In both these rites I endeavoured to be creative and experiential, and in no case do I proclaim that they are genuine and the only true expressions of the telestic magic. They are merely my personal magical endeavours to explore and manipulate the arcane nature of the god-making.

X. Before closing the rite, the magician must address the god about the nature of the rite and ask for the deity’s assistance, guidance or blessing.