"This paper argues that the Yuan dynasty Daoist Huang Gongwang’s 黃公望 (1269–1354) painting Clearing after Sudden Snow resonates with the principles of inner alchemy (neidan, 內丹), particularly the stage known as the resurgence of yang force."

https://www.mdpi.com/2077-1444/14/7/861

   

"Beside the codenames and esoteric symbols inherited from Graeco-Egyptian antiquity, the later Arabic alchemical tradition also adopted motifs drawn from the Qur’an: from the blessed olive tree of the famous Light Verse (Q 24.35) to the burning bush and Moses’ staff. This interweaving of scripture and alchemical theory is especially noticeable in one of the major works of the post-Jābirian corpus, Shudhūr al-dhahab (Shards of Gold) by the Moroccan poet Ibn Arfaʿ Raʾs (fl. sixth/twelfth century), as well as in Ibn Arfaʿ Raʾs’s self-penned commentary, Ḥall mushkilāt al-Shudhūr (The Solution to the Obscurities in the ‘Shards’)."

Richard Todd

Department of Theology and Religion, University of Birmingham

Full article:

https://www.tandfonline.com/doi/full/10....7#abstract

Situating ciphers among alchemical techniques of secrecy

Sarah Lang

University of Graz

"This paper offers a contextual frameworkfor the historical analysis of alchemical ciphers. It argues that they differ from other ciphers due to their unique context: the alchemical  tradition  embodies  a  performative  culture  of  secrecy,  which  employs  avariety of techniques to achieve this performance.  This  paper  contends  that  the distinction between ‘secret as content’ versus  ‘secrecy  as  practice’  presents  a  useful framework for understanding alchemical rhetorics of secrecy and their relationship  to  alchemical  cryptography.    Additionally, it demonstrates how these principles can be applied in interpreting several examples."

https://www.ecp.ep.liu.se/index.php/hist...ew/698/604

Oxford Univ. thesis by KF Allan.

"This thesis explores how four female poets—Aemilia Lanyer (1569-1645), Hester Pulter (1607-1678), Katherine Philips (1632-1664), and Margaret Cavendish (1623-1673)—conceptualise poetry as an alchemy of the mind that nonetheless has real, practical implications for themselves and for their readers. The ‘alchemical poetics’ of these women writers thus exhibit a lively interest in, and radical transformation of, alchemical thought that grapples variously with the saving of souls, healing of the body, and transmutation of matter. More crucially, I contend that this grouping of women writers is actively participating in the evolution of alchemical thought through poetry."


Full text:

https://ora.ox.ac.uk/objects/uuid:55a625...3958414c34

The Transition from Alchemical to Modern Chemical Symbolism: from Bergman and Guiton de Morveau to Hassenfratz and Adet, Higgins, Richter, Dalton, and Berzelius

Curt Wentrup


"The alchemical symbols for metals, acids, bases and salts were still in everyday use in much of the 18th century. The modern notation, which we use today, is due to Berzelius, but the transition was long and arduous and took place between ca. 1775 and 1820 roughly simultaneously with but distinct from the Chemical Revolution."

Open Access.

https://chemistry-europe.onlinelibrary.w....202400033

Short paper:

The Alchemical Order: The Social World and the Cosmos of Jean d’Espagnet
Alexander S. Dessens
Platte River Academy


"It was with Jim Farr’s help that I found the primary subject of my dissertation project, a French parlementaire, philosopher, and alchemist of the late sixteenth and early seventeenth centuries named Jean d’Espagnet."

Immediate download:

https://hal.science/hal-04473862/document

Johann Konrad Dippel was a German theologian and alchemist, son of a Lutheran pastor, born at the castle of Frankenstein, near Darmstadt, on the 10th of August 1673. He studied theology at Giessen. After a short visit to Wittenberg he went to Strassburg, where he lectured on alchemy and chiromancy, and occasionally preached. He gained considerable popularity, but was obliged after a time to quit the city, owing to his irregular manner of living. He had up to this time espoused the cause of the orthodox as against the pietists; but in his two first works, published under the name "Christianus D emocritus," Orthodoxia Orthodoxorum (1697) and Papismus vapulans Protestantium (1698), he assailed the fundamental positions of the Lutheran theology. He held that religion consisted not in dogma but exclusively in love and self-sacrifice. To avoid persecution he was compelled to wander from place to place in Germany, Holland, Denmark and Sweden. He took the degree of doctor of medicine at Leiden in 1711. He discovered Prussian blue, and by the destructive distillation of bones prepared the evilsmelling product known as Dippel's animal oil. He died near Berleburg on the 25th of April 1734.

An enlarged edition of Dippel's collected works was published at Berleburg in 1743. See the biographies by J. C. G. Ackermann (Leipzig, 1781), H. V. Hoffmann (Darmstadt, 1783), K. Henning (1881) and W. Bender (Bonn, 1882); also a memoir by K. Bucher in the Historisches Taschenbuch for 1858.


https://www.chemistryviews.org/350th-bir...ad-dippel/

https://en.wikipedia.org/wiki/Johann_Konrad_Dippel

http://www.marvunapp.com/Appendix10/dipp...stein.html

The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism

Bauduin, T.M.


Full text. Immediate download from Univ of Amsterdam Digital Repository:

https://www.google.com/url?sa=t&source=w...NRjFfc-F1_

"Successively a bank clerk, accountant and sales representative, Baskine finally discovered alchemy in 1937, via the book Letter From the Cosmopolitan by Alexander Sethon, and began his search for the Philosopher's Stone while living in Fontenay-sous-Bois, just outside Paris, with his wife. Taking his inspiration from alchemical symbolism, Baskine also made painted images and objects in plaster tinted to imitate "the matter of the Great Work." In 1945, at the Galerie Katia Granoff in Paris, he showed Le Temple du Mas, which caught the eye of Jean Dubuffet. At the exhibition, Surrealism in 1947, at Galerie Maeght, he presented Le Mas Goth, which featured a double Janus head and a mandrake. André Breton asked him to illustrate the deluxe edition of Arcane 17 (1947 edition) with three etchings. Baskine developed "fantasophy," a system of thought comparable to a philosophy of fantasy (or phantasm)."

http://www.thesurrealists.org/maurice-baskine.html

Video (in French): https://www.youtube.com/watch?v=G2H2zwUcmxA

https://traditionaltarot.wordpress.com/2...onscience/

https://fr.everand.com/book/351486189/Th...-Societies

"That means that over four generations, anyone and everyone finding that guess attractive has had time to investigate every alchemical manuscript within reach to make an argument that there is a close connection between drawings in the Voynich manuscript and one or another of those alchemical manuscripts surviving in Latin Europe from between the 12thC – or more reasonably the 1350s – and what we take as the cut-off date, 1438 AD. At least those are the limits for any Voynich ‘alchemical’ story also trying to maintain the ‘all western Christian Voynich’ theory."

https://voynichrevisionist.com/author/dnodonovan/

https://en.wikipedia.org/wiki/Voynich_manuscript