“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Monday, April 19, 2010

The tomb of René de Châlon in the Church of Saint Peter in Bar-le-Duc

From Northern Renaissance Art by James Snyder (Harry N. Abrams. 1985)
The tomb figures in Late Gothic sculpture were usually presented in one of two ways: as recumbent images of the deceased as they appeared alive - representacion au vif - or as decaying corpses - representacion de la mort....

An exceptional example of such funerary statuary is found in the tomb of René de Châlon in the Church of Saint Peter in Bar-le-Duc, attributed to Ligier Richier of Lorraine. The standing image is that of death and not an actual portrait of René after his death, but the meaning is the same. The grotesque skeleton statue stands firmly and proudly, carrying his shield and gazing upward at the bony hand holding his heart. The decomposition of the body is nearly complete. But this is death activated, and in the context of a tomb it is not to be viewed as the gruesome death that reaps death as in Bruegel's painting or in the Dance of Death by Holbein. This is the dead René de Châlon, and after the flesh of his body has rotted away, his soul still holds up his heart in love - caritas - to God.

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