By Ron McVan
The 14 note Press crew brings dynamic Wotanist paintings, background and concept to Wotansvolk around the world. This collaboration deals a wealth of accrued gnostic teachings, non secular concentration and ancestral satisfaction, a folkish direction for this present day and destiny generations. The consummate consultant booklet for the Euro-ethnic pagan.
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The 14 observe Press group brings dynamic Wotanist artwork, heritage and proposal to Wotansvolk all over the world. This collaboration bargains a wealth of accrued gnostic teachings, non secular concentration and ancestral satisfaction, a folkish direction for this present day and destiny generations. The consummate consultant booklet for the Euro-ethnic pagan.
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Extra info for Creed of Iron - Wotansvolk Wisdom
One tells the story of a young priest who wakes up ill one morning and finds that his penis has fallen off. The priest takes this in stride, becomes a woman, gives birth to two children and makes his/her living selling wine. There is no obvious moral here, no reason for the transformation other than sensationalistic entertainment. Another story featured a type of yūrei known as an ubume, meaning a woman who dies in childbirth or while pregnant. Then, in 1666, the Buddhist priest Asai Ryōi wrote one of the most influential kaidan-shū of all time, Otogi Bōko6 (Hand Puppets).
Claiming to be a historical record of Japan, in truth it concerns itself with creation myths and the hijinks of gods — like Izanagi and his sister-wife Izanami, the proto-yūrei about whom we will learn more later. The Kojiki was a commissioned work by the ruling family meant to authenticate the divine lineage of the emperor and cement the Yamato clan’s right to rule. Rumors persist of older books, such as the Kujiki (Record of Former Matters), which claims a publication date of 626, or the Tennōki (Record of the Emperor) and Kokki (National Record), both of which claim publication dates of 620.
But her face was calm. Soothing. There was nothing in her eyes to make the seventeen-year-old Ōkyo apprehensive. The dead woman watched him a moment — and disappeared. An artist by training and nature, Ōkyo sprang from his futon, grabbed his brushes and a nearby roll of silk and mustered all of his skill to capture the apparition exactly as she had appeared before him. His lover, Oyuki. The Ghost of Oyuki 2 was painted sometime in the year 1750, on the morning directly following Maruyama Ōkyo’s strange visitation.