The Neijing Tu (simplified Chinese: 內经图; traditional Chinese: 內經圖; pinyin: Nèijīng tú; Wade–Giles: Nei-ching t'u) is a Daoist "inner landscape" diagram of the human body illustrating Neidan 'internal alchemy', Wu Xing, Yin and Yang, and Chinese mythology.



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





Damo Mitchell gives a 40 minute introductory talk on the Nei Jing Tu chart which is carved into the wall of the White Cloud Temple in Beijing. In the talk, Damo talks about the image in general and gives an overview of the symbolism.



The full, two-hour long version of this lesson, complete with translations of all the Chinese text and poetry, is available on the Internal Arts Academy which can be found at: http://www.damomitchell.com



https://www.youtube.com/watch?v=acX1nCrZ2AA



   

The Nature of Utopia in the Early Seventeenth Century

Thesis by Michael James Macaulay.

 “The Rosicrucian manifestos show specific leanings to particular forms of Renaissance magic. Astrology is largely ignored, while natural magic and Kabbalah are only briefly mentioned in order to show how defective they had been before 'CRC' had found them. It may also be significant that 'CRC' turned his back on Egypt, the home of Hermes Trismegistus. The most important occult practice in the manifestos is, overwhelmingly alchemy. Alchemical references permeate throughout the manifestos. CRC's tomb can be seen as a recreation of an alchemist's laboratory, with its lamps and instruments. Even the 'artificial songs' are more alchemical than Orphic. It was a popular notion that music would aid the production of the philosopher's stone: Maier, for example, produced several alchemical compositions. Though it has not, to my knowledge, been suggested before, the life of 'CRC' could be an allegory for the spread of alchemical knowledge into Europe.”

http://etheses.dur.ac.uk/1657/1/1657.pdf?EThOS%20(BL)

Direct download.

"This thesis... looks in detail at the development of similar “occult” and non-mechanical ways of thinking by earlier English thinkers; from the earliest English “scientists”: John Dee (1527–1608), William Gilbert (1544–1603), and Francis Bacon (1561–1626), to members of the Royal Society of London, the first scientific society (founded in 1660), including Robert Boyle (1627–1691), Robert Hooke (1635–1703), and others. This thesis shows, therefore, that the occult ways of thinking that can be seen to have shaped Newton’s new
physics were already current in English thought (and were by no means confined to alchemy), and already provided a powerful and fruitful alternative to the mechanical
philosophy which was dominant in Continental Europe. The power and fruitfulness of these English ideas is shown by the very fact that these ideas can all be seen, as
this thesis shows, to have culminated in the highly successful work of Sir Isaac Newton."


Thesis by Xiaona Wang.

https://era.ed.ac.uk/bitstream/handle/18...sAllowed=y

(No landing-page - immediate download)

The Book of Soyga, also titled Aldaraia, is a 16th-century Latin treatise on magic, one copy of which was owned by the Elizabethan scholar John Dee. After Dee's death, the book was thought lost until 1994, when two manuscripts were located in the British Library (Sloane MS 8) and the Bodleian Library (Bodley MS. 908), under the title Aldaraia sive Soyga vocor, by Dee scholar Professor Deborah Harkness.

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

Links to transcriptions/translations at bottom of Wiki article.

By Julie Pinel (fl. 1710-1737).

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

"Alongside the importance placed on the art of conversation in the eighteenth century, salon society took an amateur’s interest in science and philosophy. Also
prevalent in this period, was the continued significance of the pursuit of gold. This was observed in literature also, and it became a common theme found in
seventeenth- and eighteenth-century airs. The air à boire, ‘Pour guérir sans retour la vive bléssure’, whose text was written by an anonymous author, illustrates this... 

As well as the loose reference to alchemy in the air à boire discussed above, ‘Ah que l’homme est sçavant’ presents us with a particularly unusual air on this very topic. The text, by Pinel, clearly points to alchemy, through its basic description of the alchemic process:

L’on fixe le mercure on a beau me le dire,
Dans un creuset je vois mettre de l’or
Et de soufleur confus jamais ne l’en retire."

Quoted from a thesis about Julie by Corisha Brain:

https://mro.massey.ac.nz/bitstream/handl...olume1.pdf

Sheet music here:

https://imslp.org/wiki/Nouveau_recueil_d...%2C_Julie)

Recording of some of her music here:

https://ladm.org/product/pleasures-pinel/

"Describing the relationship between the alchemical oblong square and the electrical circuit of the brain, the author details the operative process of the Philosophers' Stone, likening it to the servomechanism of the third eye located between the twin pillars of the cerebral hemispheres. He explores how to navigate the twin pillars of the brain to find equilibrium—the third pillar. When the energies of our third eye are in equilibrium, we resonate as a harmonic waveform generator, and he shows how this can be achieved through meditation and the synchronizing vibration of vocal mantras."

https://tinyurl.com/u2sfajrv

   

References the Voynich, Edward Kelley etc.

https://www.scribd.com/document/545978938/mjb

From the comments:

"This is known as Kechari Mudra within Kriya yoga and the Vedic teachings refer to the milk & honey fluid, as Amrita"

https://www.youtube.com/watch?v=HYk7WvUnQ-s

"The Alchemist". A short story by a teenaged H P Lovecraft.
 
"When at last I turned and faced the seat of the sound, my eyes must have started from their orbits at the sight that they beheld. There in the ancient Gothic doorway stood a human figure. It was that of a man clad in a skull-cap and long mediaeval tunic of dark colour. His long hair and flowing beard were of a terrible and intense black hue, and of incredible profusion. His forehead, high beyond the usual dimensions; his cheeks, deep-sunken and heavily lined with wrinkles; and his hands, long, claw-like, and gnarled, were of such a deathly, marble-like whiteness as I have never elsewhere seen in man. His figure, lean to the proportions of a skeleton, was strangely bent and almost lost within the voluminous folds of his peculiar garment."

https://www.hplovecraft.com/writings/tex...ion/a.aspx