I saw this the other day while walking around. The flames almost seem to resemble the symbol for gold. The double sided candle could convey the "as above so below" idea, but the other symbols are lost on me. Anyone have any ideas of the purpose or meaning of this piece?

So, this whole existential crisis started when, I stopped believing in the God of religion, and the cycle of reincarnation. So I just had a breaking point I lost faith in everything, I had despair and hatred to God and questioned his existence and reality.

So while I was questioning since the believe system of going to heaven held me up. I didn’t care about dying. But now that system was breaking apart.

So now I’m thinking look how the life I am experiencing the joys the happiness the moments our friends our family it will all slowly and slowly fade away.

And I will die, but since my heaven believe system fell away.

I will not only die,

I will cease to exist.

There’s no return, my sense of self is gone. I go back to nothingness.

This realization terrified me.

So I began to study alchemy and immortality, not physical immortality, spiritual immortality, so when I leave my body my soul won’t go into nothingness. The more I researched the more I got deep into it. I got so deep that I watched ST germain book that was talkin about how he was facing the death trials. I fell asleep to that book.

And as soon I went into deep sleep I felt a electric jolt, it felt like lightning struck me, I leaped out of my bed in full terror, I leaped so fast and jump so high and far I broke everything in my room, I went into full terror panic mode for 2 minutes like I was possessed I still have no clue what I was terrified of or what happen. It felt like I was about to die. I don’t know what that was but I’ll never study immortality or alchemy again.

I don’t know if it was a spiritual attack or my Shen breaking, it was just terrifying. One of my alchemist friends said my Shen was disturbed or something, I don’t know what it was but I will never look into immorality again.

Estou criando uma história com alquimia como prática dos personagens centrais.

Um deles se chama Nigredo (nome escolhido pelo próprio) e tem uma forte ligação com o luto. Como ele é um homunculo, me inspirei na receita de Paracelso para dedicar uma receita simbólica pra ele, já que ele não foi criado por ela, mas tem sua vida refletida nela.

"A semente deve mantida em ambiente fechado,

E envolta em abundante paixão,

Para que o calor desejado de fim a sua frágil existência."

Esse personagem é marcado pelo desejo de afeto, que varia de busca incessante, à repulsa extrema (que pode ser notada na parte "frágil existência"). Ele também tem uma inspiração em Buda, que viveu cercado de prazeres quando príncipe, e depois praticou jejum como asceta, notando que nenhum dos dois dava felicidade verdadeira.

Me alonguei um pouco na explicação, mas ainda há coisas que não comentei, mas deixo para depois.

Apenas queria um feedback de alguém que conhece mais de alquimia, para que a receita fique mais parecida com o modelo de receitas mais usadas.

I have heard about alchemy from Carl Jung, and I have watched a few videos on the spiritual side of it, I wanted to ask you guys what practices is needed to get me in the path? Thank you

The only things I remember are that it was purple, focused on concepts rather than texts, included a fair amount of info on Paracelsus, and was approved for a Midwestern US high school.

I know it's a long shot, but it's where my journey started.

Every time someone posts about Nigredo online, (or anywhere for that matter) they talk about it like it's just this permanent, edge-lord depression pit. Like you just sit there in the dark, feeling bad for yourself, waiting for a bell to ring.

That’s completely missing the point. Nigredo isn't a frozen state. It’s violent. It’s actively chewing you up.

If you are actually in the black work, you aren't sitting still. In the real laboratory of the soul, the floor is constantly shifting underneath you. The blackness is alive and it's aggressive. One hour it feels like a heavy, suffocating lead weight in your chest, the next it’s a chaotic ash that blinds you, and then it flashes into this blinding, agonizing spark of panic when you realize how much of your old life was a total lie.

You aren't supposed to safely calcify or harden in the dark. The heat under the glass is dialed all the way up. It is actively boiling, fermenting, and liquefying your ego until there is absolutely nothing left of who you used to be. It forces you to watch yourself rot.

You have to completely decompose before you can ever turn into the prima materia. Don’t look for an exit strategy just because the smell of your own psychological decay gets too loud. The putrefaction is the only way through to the Albedo. You have to let the fire completely burn out your old garbage before the white whitening even has a chance to start.

Stop fighting the dissolution. Let it unmake you.

... only to give it a look and find it was yet another frivolous misuse of the word (':

Ony to find out that it wasn't veiled at all, it was plain as day only someone who could see beyond himself could see it.

The beautiful thing is once you are TOUCHED / FEEL the knowledge not just know it, then you realize the beauty and true meaning of immortality and how he lived his life. ♦

I am in the nigredo stage before facing the emotions and doing the laborious work rebuild alignment. This is a hard issue to work through and Im finding it difficult to relate to others in this process. It would mean a lot if you could dm and share what helped you.

New to this whole alchemy thing. What other books do you recommend?

Hello; don't use this account often but recently over the past few months or so I've been going through sort of a chronological reading binge on the history of Western esotericism (and may praise be heaped onto the Secret History of Western Esotericism podcast and Esoterica for keeping me moored) and I was wondering if there are any good resources on the very early stuff (ie. pseudo-Democritus, Zosimos, Cleopatra) either in handbook-style overviews or findings done in lab replication. A lot of alchemical research seems to be focused on the Islamicate to early modern period which is quite far from where I am reading-wise lol. Anything is appreciated and many thanks!

Something that took me a while to understand when I started reading primary sources: the obscurity in alchemical texts is not poor writing or mystical hand-waving. It is a deliberate system, and it has a name. Decknamen. Cover-names.

A few examples of how it works:

When a text says serpent, it usually means mercury. Not a metaphor for transformation, not a symbol. The substance.

Green Lion is a solvent that dissolves gold. Depending on the author it is vitriol, or aqua regia, or antimony ore.

Caput mortuum, the dead head, is the worthless residue left at the bottom after distillation.

The Peacock's Tail is the stage where the surface breaks into iridescent colour, which told the operator the work was still alive.

What makes it genuinely difficult is that the authors did not agree with each other. The same cover-name means different things in different texts, and some writers deliberately used four different names for one substance within a few paragraphs. Contradictions were placed on purpose. Steps were given out of order. The stated intention, repeated across centuries, was that a reader without a teacher should understand nothing.

It worked. It worked so well that when the tradition stopped being taught directly, the whole discipline became unreadable and got filed under superstition, despite having produced most of early pharmacy, metallurgy and the practical groundwork of chemistry.

The part I find interesting is that the material is not lost. Most of it is digitised and free. Splendor Solis is on the British Library site. The Musaeum Hermeticum is on archive.org. Newton's alchemical papers are fully transcribed and online through the Chymistry of Isaac Newton project at Indiana. The barrier was never access. It is that almost nobody can read the code.

Once you have a working lexicon, a lot of it turns into something much more concrete than it first appears. Frequently it is just a procedure.

Curious whether anyone here works from primary sources directly, and which editions or translations you have found least mangled. The nineteenth century English translations seem to introduce their own layer of confusion on top of the original one.

Hello! I had a good post here a few days ago, did a tarot reading and thought on it... Which brought me back here. I'd like to start really studying, not just a scroll and scrub of a Wikipedia page. If you have any good book recommendations, scrolls to study (sounds so fantasy saying that haha), and tips, I'd really appreciate it! (I'd also like to add I'm a visual learner, I might be slightly dyslexic and massive text-heavy books gives me headaches- Just... Just as a heads up)

I mostly use alchemy as a sort of way to express philosophical and psychological thought right now, I've thought about working their symbols into my own sigils. Best way I can put it is that alchemy gives me a 'trellis' from which my plant thoughts that are chaotic and hard to manage to 'grow' on and become a bit more translatable to other people. Thoughts on the inside reflect how you are on the outside/Every action has an equal and opposite reaction sorta vibes.

I really hope this makes some sense- As I'm typing this my brain feels like popcorn with so many thoughts, each fighting to take hold and it makes writing a cohesive post really difficult. I'd also be curious to know how the practices of alchemy would blend with other practices, like witchcraft and say Gnosticism. Again, thank you so so much. Blessings to you!

Everyone here has bounced off a text. You open the Turba, or Flamel, or Fulcanelli, and you hit the wall: the scattering, the contradictory recipes, the endless insistence that our mercury is not the common mercury.

The authors are not accidentally unclear, and they don't pretend otherwise. They write for the filii artis and assume the rest will not follow. They quote the line about pearls and swine to justify it. Zosimos already leaves injunctions not to reveal. There is even a formula for the method: obscurum per obscurius.

So the question isn't whether they conceal. It's what for. And there are two answers that look identical on the page and are completely different in kind.

Protection.

Keeping the art from the profane, the greedy, the one who would misuse it.

It's worth not being smug about this from a chair in 2026. The reasons were concrete and several of them were physical. Working precious metals exposed you to accusations of coining, which was a capital offence. A doctrine of transformation with its own vocabulary sat uncomfortably close to heresy. And promising gold attracted patrons who eventually wanted results, with the alchemist himself as collateral.

In that situation, writing so that only an insider understands is not affectation. It's survival.

The difficulty doing work.

This is something else, though on the page it looks the same.

If you hand a reader an image and then explain what it means, nothing is left for them to do. They receive a finished conclusion, which is information. What they don't receive is the operation: nothing of theirs was dissolved, so nothing new was fixed.

Obscurity in this second sense doesn't hide the content. It keeps it in a state where the reader has to intervene for it to exist at all. It is the solvent. Remove it and you remove the mechanism.

The second reason never depended on the historical situation. The first one did, and that situation ended.

What happens when the first outlives its era

With no inquisitor, no guild and no gallows, protective obscurity degrades into something far more comfortable.

"The art keeps itself for the few" has a property worth looking at directly: it cannot be refuted. If nobody understands you, the explanation that the reader's ear wasn't ready is always available. Every failure to communicate converts automatically into evidence of depth, and past that point no correction is possible. A practice that cannot be corrected stops improving.

There is also an incentive nobody mentions. Writing obscurely is cheaper than writing clearly. Producing a text nobody understands requires no particular skill. Producing one where something difficult becomes genuinely available requires understanding it first, which is the expensive part. Protective obscurity hands out a prestige reward for doing less work, and that combination always finds takers.

What is actually true underneath

I don't want to throw the whole thing out, because there is a real phenomenon holding the idea up.

Some knowledge does not transmit by explanation. Nobody learned to ride a bicycle from a text. The welder, the surgeon, the cook and the writer all know things that only become legible after certain experiences, and no amount of clarity substitutes for having gone through them.

So the defensible reading of "for the few" is not that the art hides from the many. It's that certain knowledge only becomes legible after you have lived something.

Which means the tradition picked the wrong filter. Dispersion and a closed lexicon select for persistence and literacy. Neither of those is the same as having been through the process.

A test

Not all difficulty is evasion, and it would be cheap to end as though it were. Some subjects are genuinely hard, and simplifying them lies. A text that reads effortlessly about something that cannot be understood effortlessly is cheating in the other direction.

So here is the test I use, and it applies to me as much as to Fulcanelli. Whoever wrote obscurely should be able to say what work the obscurity is doing. What the reader is supposed to supply, at what point, and what would happen to the text if you handed it over pre-chewed.

If they can answer that, the difficulty has a job.

If they can't, it doesn't, and no tradition makes it necessary. A closed door does not guard anything by virtue of being closed.

I’ve always loved when potion-making is more than just “click to craft” and actually gives you interesting choices.

What’s your favorite potion in any video game? Do you like it cause of its effect, the way you craft it, or just how memorable it was?

I’m working on Potion-making: Path of the Alchemist, a card strategy game built around brewing potions, so I’m especially curious what other games got alchemy right.

What potion immediately comes to mind?

I wish to preface that I hold no negative judgement towards alchemy and only possess ignorance on the subject. But sometimes I randomly see posts and I hear so much about it but what are y'all actually doing? Like are y'all brewing potions or philosophers stone? I'm just genuinely curious.

What would rust be considered in the 12 processes? Sorry to bother, but I'm doing some alchemy-themed writing for funsies in a Vintage Story server and realized that rust doesn't fall cleanly under one of the processes I was studying. Rot does, but rust? What would rust be considered? I couldn't find anything on the wikipedia so I thought to come here.

Hi,

Every time I watch the opening theme of the anime show by the name Witch Hat Atelier I get some sense of alchemy trying to be pointed out, from the song to the visuals and primarily by received experience.

Almost, like there are some alchemical "binds" present in video, but unfortunately I am not able to recognize what it could be.

Can anyone help me and explain what particular is presented through the intro opening theme?

If we say that there is alchemy as the main framework behind the creation of the intro what would it be?

Is there anything specific that some more advanced alchemists can recognize as some specific "moment of alchemy" "alchemical bind" and similar?

https://youtu.be/-VGQrbaisrc?si=ezffv8KK0z5zvwG0

Tnx, I appreciate any help...

Forgive me if this is a common question. I simply cannot find any answer around it. A more accurate question for me to ask is, why can't the Classical Earth and Classical Fire combine? I've done some independent research in pursuit of a basis for some worldbuilding, but the thing I can't figure out is why doesn't Earth Combine with Fire when they can become each other?

The way I've been informed of the Three Primes is that they are resultant of either two elements combining or transitioning into each other. Regardless, it would be Salt formed from Earth and Water, Mercury formed from Water and Air, and Sulphur formed from Air and Fire. But what would happen if Earth and Fire mixed or transitioned? Nothing? Why? If it would create something, why is it not explained anywhere?

Thanks in advance for the help, I figured if I can't find it anywhere else I should get opinions here.

Episode 01 names the Four Magickal Virtues or Powers of the Sphinx, frames musical practice as a vehicle for the Great Work, and opens the Nigredo: the stripping of the performed self as the first stage of the alchemical process.

This series looks at music as a form of inner alchemy, where the guitar becomes a tool for transformation instead of performance or self-expression.