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Posted by on in Paths Blogs
The Magick of Making

What is a spell? Is it the gathering together of specific items such as crystals, herbs, and colored candles during certain phases of the moon to heal?  Is it the power of an invocation chanted by a coven to bring a deity? Is it a song sung by a mother to her child to soothe them? Is it the drawing of a certain symbol on the ground of a sacred space designed to protect it? 

If we define magick as the process of focusing intention and applying will to situations, objects, and energy around us to cause a change in consciousness, then all of these activities are kinds of spells. They are all forms of magick in their own way.

So with that in mind, we may also consider the visual art-making process as a magical path. Of course, not every piece of art is a magickal working, but with the right elements and conditions, it has the potential. 

Art can be created to take on a variety of magickal purposes - here are a few examples:
-A painting or statue created to represent a deity, to remind us of the divine
-A vessel or sculpture created to house a spirit or other sort entity
-A work created for as a focus for meditation or to transform a person, place, or thing 
-Work created to be an interactive altar, sacred space or be part of an altar offering

And while nearly any object can be re-purposed for use in magick, there is something extra special about an item that was handcrafted with that intent in mind. Why?

As an artist, when I sit down to create a painting, piece of jewelry, drawing, or sculpture, there are numerous steps and factors involved.  I generally (and prefer to) create my work in my studio space, which is essentially my personal sacred space.  I consider what I wish to work on, making a list of what I need. I carefully prepare the area that I work in/on/around and painstakingly gathering my materials.  I choose the light, music, and time aside needed to focus - and then I get to work. If I am creating a custom painting for a client, then I am meditating on them and their needs.  If I am creating a piece that relates to a deity, then I approach them respectfully and allow a dialogue to occur that brings them into the process.

I find that creating work is a balance of conscious, subconscious, and unconscious levels of awareness and thought.  If I am too much in any one area (overthinking, or perhaps too much in trance), the work will not be as successful.  The body, mind, and spirit must be in alignment, yet also be fluid enough to allow for change.  

Through much experimenting and observation over the last 20 years, I have recognized the similarities between the state of being I experience during classic spellcraft and when I am creating art infused with magick.  The energy transfer feels identical, and as I have studied the work and experiences of other artists, I have noticed similar results in the product.  It has its own buzz that you not only see, but feel. Whether it's a ceramic chalice, a talisman necklace, an elemental mask, a goddess sculpture, or painting of a god - the hand-worked, mind-forged, spirit-infused item seems to possess something more, right from the start, and continues to build as it interacts with the world around it. 

Just like any good traditional spell, it requires skill and knowledge in the medium, the ability to focus one's intent and energy, and the patience, dedication, and understanding of working with the project and seeing it through until the end. 

If you don't consider yourself an artist, that's OK. Think about the art and artful objects you may have in your home, be they originals or copies.  Why did you choose those pieces, or how did they come to you?  How do they make you feel? Why do you have certain things in specific places? What about art or objects that you have left behind, given away, or sold? 

If you are an artist, and this is new and intriguing to you, then consider what media you are best in, and what sort of magick it may lend itself to.  Over the years I have created deathmasks and psychopomp portraits, spirit portals, fetishes, drawings to bring about change, paintings for meditation, altar objects, and energizing talismans to name a few.  There's a lot of potential out there, when you have the right mindset and skill to make it happen. 





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Posted by on in Paths Blogs

b2ap3_thumbnail_PlaquetheOfferingofMaatBTR_103_20130520-193301_1.jpgDua, Maat, you who were with Ra from the beginning.

Mistress of the two lands, Lady of truth, dua, hail and welcome.

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Posted by on in Studies Blogs
The Role of Belief in Magic

Belief is a powerful tool in magic, and in spirituality in general. Belief is a funnel for attention and intention. Whether you believe in something because you genuinely believe in it or believe in it for the sake of something you are trying to achieve, belief has a purpose in magical work. I find the following passage to be illustrative of the importance of belief in magical work:

Be it noted that we do not have to believe or disbelieve in the actuality of such inner agencies per se. what we must believe in is the possibility they exist in their own state of being, yet are capable of interaction with ours by unspecified means or degrees...We need not believe in 'spirit' unless we want to, but we positively must believe in our capability of living and behaving as if the energies available to such entities might be employed on our behalf. From Exorcizing the Tree of Evil by William G. Gray

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Posted by on in SageWoman Blogs

I love Chaos Gods. They fill my life with hugely beneficial synchronicity, if I only open to these supposedly chance occurrences, instead of stubbornly digging in my heels. (Yeah, I know Chaos Gods are portrayed as all evil and dangerous, but that's a lie. Well, some Chaos Gods are evil, but I don't work with them.)

I felt moved to write about this Divine chaotic kindness because of a recent event. It dazzled me so much that I have to share my delight—or I'm going to burst—in how beautifully and intricately the World Tree weaves to embrace me in its branches constantly.

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Recent Comments - Show all comments
  • Bee Smith
    Bee Smith says #
    This post is pure gold, Francesca!
  • Francesca De Grandis
    Francesca De Grandis says #
    Wow, Bee, thank you so much! ✨
  • Ted Czukor
    Ted Czukor says #
    Love this, Francesca, and I hope Ravyn contacts you for tips on disability crafting. It's both comforting and humbling to look bac
  • Francesca De Grandis
    Francesca De Grandis says #
    Thank you! Yes, I am so grateful for divine designs. Did you read my book Share My Insanity? In it, I talk about chaos only appea
  • Jenn
    Jenn says #
    This is so awesome! I love felting - I do needle felting but have a book about wet felting and definitely want to get into it. You

Posted by on in Paths Blogs

b2ap3_thumbnail_zeus.JPGI have heard hard polytheists come up with all sorts of words to distinguish their gods from Jungian archetypes.  The gods, they say, are "real", "literal", "individual", "distinct", and "separate"; they are "persons", "beings", "entities", or "agents".  The archetypes, it is implied, are none of these things. 

I think much of this is based on a misunderstanding of the nature of the archetypes.  In the next four posts, I want to talk about four terms that polytheists use to distinguish gods from archetypes: "real", "literal", "separate", and "agents".

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Posted by on in Paths Blogs

b2ap3_thumbnail_osiris.jpgWe traveled up the Nile to visit some of ancient Egypt’s primary cult centers in the last post.  Since that time, the star Sopdet (Sirius) has begun to show herself at the horizon just before dawn.  This tells us that Isis has been weeping for her murdered husband Osiris, and soon her tears will cause the annual Nile flood.

With the inundation comes the end of Shemu, the dry season.  As the flood waters recede we find ourselves in the season of Akhet.  We can see the fields full of rich black silt left behind by the flooding river; the farmers sow seed now, knowing crops will flourish as they grow in the fertile black ground.

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Posted by on in SageWoman Blogs
Seasons of bare earth

Exposing the soil is, in temperate climates, something people do when farming or gardening. Drier lands that do not support many plants can have much barer earth.  Mountains and deserts can be something else again. I’ve seen small islands where the winter grazing of birds will take out all vegetation and bare the ground. There are all kinds of possible seasonal variations that might expose the soil. Where and when and why this happens is well worth a thought.

Left to its own devices, England is a green sort of place and manages this most of the year round. We lose the leaves from the trees in the winter, but not the green from the fields. Even in the hottest summers, we stay green rather than fading to the yellows and browns of hotter climates. If we don’t dig the soil, then the soil seldom stays bare for long.

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