“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.

Thursday, April 21, 2011

Jan Mandijn (Haarlem, ca. 1500 – Antwerpen, ca. 1560)

From the De Jonckheere Gallery: Born in Harlem in 1502, Jan Mandijn settled in Antwerp in 1530. He very rapidly built himself an excellent reputation there through his portrayals of dreamlike scenes such as his versions of the Temptation of Saint Anthony and Saint Christopher for which he drew largely on the fantastic creatures of Hieronymus Bosch, just like Pieter Huys. However, his amusing rather than truly disturbing compositions do not possess this fearful background that is characteristic of the Bois-le-Duc master. In just as characteristic a way, the paintings of Mandijn stand out owing to the heightened realism of his landscapes, often painted with supple and broad brushstrokes. It has become customary to group together a certain number of paintings that are kept in Antwerp, Bruges, Douai, Florence, Vienna and Saint Petersburg; amongst these works are subjects such as the Temptation of Saint Anthony, The Torments of Hell or The Last Judgment. The following are four of Mandijn's many paintings of the Temptation of St. Anthony.

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