mattersalt

KAMALA-JNANA F.A. de R+C

ALCHEMIC WORK

Rubellus Petrinus

(Background sounds)


Kamala-Jnana is the pen name of a contemporary alchemist who was a Superior of the Temple of Ajunta of F.A.R.+ C in France. The Al-kimia Collegiate to which we also belong, is also the External Circle of the Old Fraters Rosa+Cruz headquartered in France. With Roger Caros' death the Al-kimia Collegiate has fallen asleep.

According to the Introduction of the book Dictionaire De Philosophie Alchimique, in all appearances the name of Kamala-Jnana would be Jean and he will have died from an accident. His brother, Pierrot, also died some time after, having kept his works, after his death, they went to a friend's hands who in turn gave them to a Pierre Deleuvre to publish it.

The Work of Kamala-Jnana, viewed alchemicaly is of an extraordinary beauty. At first look, for an experienced alchemist, it seems to be of a great simplicity. There is little hope for those who think this way. Under that apparent simplicity hides a "key" (secret) to the operative difficulties that make to spend years of one’s life in the study of this magnificent alchemic work without find it.

The Master had several disciples of whom, we have just met two: Roger Caro author of some alchemy books such as, Concordances Alchimiques and Tout Le Grand Oeuvre Photografie and Jean de Clairefontaine, author of Apocalypse Revelation Alchimique .

Kama-Jnana wrote several books about the Art, the one most known to us as the Dictionaire De Philosophie Alchimique.

As its title indicates, this book describes his whole work under the form of a Dictionary, which contains some coloured pictures of several phases of the work taken by the author.

In 1968 Roger Caro, with authorization of the Emperor of the Temple of Ajunta, published the book Tout la Grand Oeuvre Photographie. As its title indicates, this small volume contains 43 pictures taken by Kamala-Jnana and assembled in sequence of the work with the respective description by Roger Caro.

It is inferred that Roger Caro would be Kama-Jnana himself, but this is in contradiction with that is written in the foreword of the book Tout La Grand Oeuvre Photographie.

«It is a satisfaction for me to give my testimony it magnifies our great friend Roger Caro's accomplishment.

A more arduous work was never executed with so much patience, tenacity, safety and competence.

A puzzle constituted of forty quadricomias in bulk, dispersed and without legend was reconstituted and commented with mastery.»

«These pictures that formerly were taken by our deceased and longing son Kamala-Jnana in the continuation of an alchemic experience in Ajunta they could not be published by other than you my dear great master…»

That is more than evident proof that Roger Caro could never have been Kamala-Jnana.

The Kamala-Jnana's way is, essentially, a humid way, the more noble of all the alchemic ways. The several phases of the Work are the following, according to the Master's teachings and of Jean de Clairefontaine:

1-Preparation. 2-Solve. 3-Coagula. 4-Multiplication.

The time of duration of the complete Work is of 28 philosophical months, distributed as: Preparation-2. Solve-8. Coagula-16. Multiplication-2. Total: 28.

We draw attention to this time that it is not real, but philosophical, just as is explained by the Master in Dictionaire De Philosophie Alchimique:

«Philosophical months: has nothing in common with the ordinary months. The philosophical months represent a conventional time. They are calculated so that the four fourth of a lunation is reduced to 24 hours, they coincide with the four stations of the Great Work, beginning in the winter.»

We leave it to your discernment in deciphering it, which is in fact simple. The knowledge of the time is of great importance in the course of the work, for which, we recommend not continuing without the exact knowledge of what time is represented by a philosophical month.

After you know that, you will need to know the matter or mineral subject and know well the agent or secret fire, both represented symbolically by the figure in attachment.

Without the exact knowledge of the subject and of the secret fire, it will be for you totally impossible to begin the work. Therefore we will begin with the prime matter or mineral subject.

FIRST MATTER or SUBJECT

The subject of our work is the red Dragon, which you can observe in the image and that the Cosmopolite identifies in Nouvelle Lumiere Chimique, Retz, Paris, p 233:

«It is a stone and it isn't stone: it is called a stone by its likeness, firstly, because its ore is truly a stone in the beginning when it was extracted from the caves of the earth. It is a hard and a dry matter that can be reduced into small parts and triturate as a stone. Secondarily, because after the destruction of its form and of the division of its parts, that were composed and united by nature, it is necessary to reduce it to its essence, to digest it sweetly according to Nature into an incombustible stone, resistant to the fire, and melting as the wax.»

The Master was not very generous in the description of the characteristics of our mineral but he makes a synthesis of the whole work of the subject to the philosophical stone.

What more cans we tell you in identify it, without surpassing the limit that tradition allows us?

That is a hard and heavy mineral that is abundant in China, in Spain and in other countries. That is light sensitive and, for that, when exposed for a long time to the direct action of solar light, it is black to the surface. Formerly, a very fine powder was used anciently in the oil painting.

For best you can identify our mineral subject by its spagyrical spirit symbol, implore the goddess Venus and also waning Diana (horned) to help you and, then, for superposition of the two symbols, with the grace of God you will be rewarded.

Identifying its spagyrical spirit symbol, you will easily know the name of the mineral from where it is extracted. It is all that we can tell you to help you identify our mineral subject or red Dragon. There is not a point to add or a comma that lacks.

Seek a mineral exempt of silica and the more crystalline as possible. If you don't get it, you will have to purify it, by flotation in the following way. In an iron mortar, reduce to powder small pieces of our mineral. The subject is hard and, because of that, you will have to crush it into small pieces before reducing it to powder in the mortar. Then you sift it in a sieve of 60 lines per centimeter or 120 per inch.

When you have sifted it, pour 500 g in a 1-litre large-mouth glass flask and pour tap water enough to fill it. Stir with a glass rod and when the fine powder is still floating in the water, pour it quickly into an another similar flask.

Repeat the process again, until the fine powdered mineral passes together with the water into the other vase, while remaining in the first flask the siliceous dregs.

For decantation, pour off all the water and let the mineral dry in the shade sheltered from direct solar light because, as we have said, this mineral is light sensitive. Keep it in a closed large mouth flask sheltered from the light.

The SALT or SECRET FIRE

The salt or secret fire is the agent that provokes all the transformations in the matter or mineral subject, for this reason, it is the key of the whole Work.

What can we say about the salt or secret fire, concerning its identification for the brothers in the Art, without surpassing the permissible limit and without unveiling clearly?

It is a true saline fire that the artist prepared starting from matters of the vegetable and the mineral kingdom.

In this respect, Basil Valentine, in Les Douze Clefs De La Philosophie, p 132, says:

«If anything be reduced to ashes and treated according to the Art, will extract your salt.»

To be more charitable we will identify the origin of one of the fires, just as the Master it describes it in Dictionaire De Philosophie Alchimique:

«Acacia…the acacia, in alchemic terms, is a tree that contains much calories suitable to feed one of the secret fires of the Sages.»

«Oak. As the acacia and the fern, contains within itself much of calories suitable to feed one of the fires of the Sages.»

With relationship to the second salt of mineral origin we will try to identify it as much as possible.

It is a very common stone that has in its interior a latent fire after being subjected to the action of the vulgar fire and incredible as it seems, the water wakes up that fire for some time.

In Le Triomphe Hermétique, Limojon de St. Didier, p 43 says:

« Consider only, in application, that this natural fire is, however, a skilful invention of the artist; that is suitable to calcine, to dissolve and to sublimate the philosophers' stone, and that there is no other fire species in the world capable to produce a similar effect. Consider that this fire is of the nature of the quick lime and that it is no strange relatively to the philosophic subject.»

This was the best way that we found we could describe to you the characteristics of this double saline fire that is extremely caustic and corrosive.

The Master in Dictionaire De Philosophie Alchimique identifies the matters of his Work through three words inscribed in the Indian and Tibetan temples considered sacred whose translation was transmitted to us charitably by a brother:

Kshàra. Ogàs. Hingula.

If you have sufficient discernment you will get to identify in these three words (one letter of each) the actual chemical formula of the secret fire.

Here is the "key", brothers, that will allow you to identify and to prepare as the Art demands, the double saline fire that it will open for you the doors of the Work, you will know how to understand it.

To help you we made photo images as attachment. We made it possible to transmit to you this key in a practically in a clearly language and we are sure that an Artist with some experience will understand it. The other ones, pseudo-alchemists and blowers, they, will stay as they were.

Home page: http://www.terravista.pt/mussulo/2005/

(Image with links)


Hosted by www.Geocities.ws

1