The Typhonian Order of Templars (TOT)

Kaotik Golden Dawn Experiment 2009 (KGD-2K9)

by Fra. Petros Xristos Magister (8=3)

 

The Typhonian Order of Templars is a subsidiary order of Mountain Temple Center. The original concept for the Order was developed in 1996 and had lain dormant for 13 years until revived in 2008 on an experimental basis. It is not an attempt to replace or succeed any other order, current or form of working, but an endeavor to broaden the horizons of trained magicians and spiritual seekers of all paths. It is best if practitioners have some basic familiarity and resonance with the Golden Dawn tradition, ceremonial magick in general, and the work of Crowley and his New Aeon Current (Thelema) in order to most benefit from this experiment.

The T.O.T. is a loose association of magicians of which the Kaotik Golden Dawn (KGD) is its pseudo-hierarchically organized magical tool. The KGD will utilize a tenfold structure paralleling that of the Golden Dawn and making use of the same Tree of Life concept, although generally approaching it from the nightside. However, the KGD is not seen as a tool of attainment but of purgation. Thus each “step” is perceived as another obstruction or occlusion being purified or removed. Being a pseudo-hierarchy, any of the paths or power-zones may be worked as needed and possibly in any order. In respect of its open-ended approach the path which combines both the TOT and the KGD is referred to as typhokaosian.

The TOT works within existing magical/mystical frameworks and draws upon the most primeval and generally submerged forces of a subconscious nature. These “averse” or backside elements are a necessary and critical complement to the front-side work of ascending the Tree of Life, but are commonly ignored or given short shrift. It is a TOT working assumption that the most primeval elements of the human constitution must be dealt with first (and, perhaps, last) prior to or concurrent with any attempt to ascend the Tree via the usual dayside paths.

The term typhonian is connected to the ancient Titan of Greek myth, Typhon, a non-human “monster” (i.e. unfamiliar entity recalling suppressed energies) is notably the offspring of Gaia (the living Earth goddess) and Tartarus (the Abyss or underworld.) In his battle with Zeus, he temporarily forced Zeus to succumb (a rare occurrence, perhaps a totally unique situation), sending the sky-god to the Land of the Dead for a brief period of time. This indicates the primal potency of the archetype. The word is derived from a term referring to smoke and hot winds, thus its equation to powerful storms, waves of the ocean, and anything preterhuman and transcendent in its destructive/transformational force. The implication then is that we are wrestling with powerful, submerged forces, not mere fancies and images.

Typhon was ultimately subdued by Zeus (the dayside power of sky and ordinary consciousness), but not killed – merely confined to a subterranean region beneath a volcano. The implication of this is that this powerful force lives on “beneath” dayside consciousness, occasionally sending out its power in a random or chaotic, often destructive, fashion. The goal of the successful Typhonian operation should be to learn how to better handles these deep archetypal forces, to exploit their potential energy more positively.

The iconic appearance of Typhon is surely unprecendented in myth. He was said to be so vast that his head brushed up against the stars (symbol of the entity's vertical reach to the highest consciousness), and was human-shaped down to the waist but beneath the waist consisted of twin coiled vipers (associating him with the serpent/ophidian consciousness, kundalini, the dual serpent emblem of Mercury, etc.) Each finger of each of his human hands was made of ten serpent heads for a total of 100 (= Hekate.) He was winged (indicating “flight” into other realms and freedom from bondage to the earth plane), and bore dirty, matted hair and beard (= ascetic, Siva, etc.) Despite his basically human appearance, his ears were pointed (as the “faery folk” and other transhuman entities, Visitors, etc.) and his eyes flashed fire. A variant iconography pictures Typhon with 200 hands and 100 heads in various zoomorphic forms (with one human head.) This multiplicity of heads and hands, in addition to his theriomorphic parts, is highly unusual in a Greek myth and reminds one rather of an Indian or Egyptian deity. In Asia, multiple heads, eyes and hands symbolize multiple functions and abilities in a deity or monster.

Typhon in general symbolizes pre-human, trans-mundane forces beyond the ken of mortals and their well-tamed, civilized household gods who neither threaten the social ego nor offer any possibility of transformation, as it is in their interest (but for rare exceptions) only to maintain the status quo. It is also a symbol (among others to be discussed later) of the ingress of forces of primal Kaos from outside the space-time matrix into the world. Kali among the tantrikas is a cognate archetype.

The Typhonic Current also attempts to access forms of magic and mysticism of a pre-solar nature, generally those of lunar and stellar influence. Such currents were substantially feminine-oriented and focused upon actual utilization of human biochemical energies rather than the later emphasis on concepts and abstract forms. This is also the chandrakala (“moon-times”) practice of certain Indian tantrikas. It is also the nivritti marga or counter-force path of tantra, implying a spiral return to primeval forms of being in order to access and channel their energies for higher purposes.

In utilizing the Lunar Vibration, the TOT focuses upon the power-zones of Yesod (the lower moon) and Daath (the higher moon), balanced around the Black Sun or averse reflection of Tiphareth (accessed via the reverse structure of the Tree through the door of Daath in the midst of the watery/akashic Abyss.) In kundalini terms this implies emphasis on the svadisthana (2nd), visuddha (5th) and ajna (6th) chakras.

The importance of the Daath center is that it represents the Gateway to the dark spaces “deep” within the Tree. Note that Daath is in the midst of the vast watery Abyss. It is the “Crown of All” that is manifest (beyond the Abyss, in the Supernal Triad, is non-manifestation.) It is associated with the visuddha chakra (throat chakra) dealing with speech and its formula is magical Silence.

The TOT's monogram consists of the twin Pillars of the Tree (the two T's) surrounding the vast unknown Void or Abyss (suggested by the O.) This also symbolizes, physiologically, the protected womb or Gate of ingress into Manifestation. Its enumeration is 9+70+9 = 88, which is 11x8, the number of magick (the one beyond the Ten, i.e. Daath) times the number of Kaos (the eight directions).

The TOT's magical formulae include atavistic resurgence, zoothropy, sexual magics, trance (yoganidhra) and active dreaming. Its paths are the in-betweenness zones, between the cardinal points, thus again forming the 8 pointed figure of primal Kaos magicks. “8” is also the infinity symbol verticalized. When the two 8's are placed together in cloverleaf pattern (one of them rotated 90 degrees to the other) they form the nexus of infinity.

Other archetypes that are relevant to the TOT-KGD:



Nunet (pronounced noonet) is an archaic Khemite embodiment of the primordial Abyss / Ocean. The form as spelled represents a female energy, but it also possesses a male aspect with slightly different orthography (viz., Nun.) The neuter representation is Nu. None of these should be confused with the space-goddess Nuit, however; their energy is of a more terrestrial nature. In its male aspect of Nun, the zoomorphic representation is that of a frog or frog-headed man; is homomorphic embodiment is that of a bearded man with blue-green skin, not unlike Greek depictions of Poseidon or the Roman Neptune. In its female aspect of Nunet it is embodied as a snake-headed woman; presumably a water-snake species. In its basic representation as Nu, it is depicted holding up a solar barque with upraised arms. In the boat are eight other gods, centered on the scarab god Khepri. This may make reference to the myth of the cosmos having been formed by the interaction of eight elements, but all derived originally from the primordial waters. Nu is associated with creation from the primal Abyss, but concurrently with protection from the original forces of chaos which always threaten to flood over the world. Nu had no temples, but was worshipped by sacred lakes or underground streams or, appropriately enough, the ocean. Rarely, the deity is depicted in androgynic form.


From the perspective of the TOT, it is difficult to call upon the archetypal energies of Nu except in coastal locations or other areas in which water or moisture predominate. An attempt to magically represent and embody these forces may be made with seawater localized in a magical container, however.




To the Egyptians, the frog symoblized fecundity in quantity, and also the transition from watery life to life upon the land, thus enabling it to become also for us a powerful symbol of transformation. In its immature form, the tadpole, the frog dwells wholly within the Abyss, and resembles the spermatozoon from which all higher life is derived; as it matures, it gains legs and learns to crawl and jump – symbol of magical ambition to go beyond given boundaries and “leap” to new worlds of understanding and being.


Heqet is an important Egyptian frog-goddess, dating back to early times. She was a fertility goddess as might be expected, specifically being connected to the flooding of the Nile (the fecund inundation also representative of the menstrual cycle.) She was sometimes depicted symbolically as a frog sitting in a lotus blossom. Heqet was also associated with midwifery; from a mystico-magical perspective, this idea can be extended to the concept of “spiritual midwifery” or the one who hastens the coming into being of the new initiate. In some later stories Heqet is made the wife of Khnum, the bull-headed god who, as a potter, formed the physical vehicles of humanity, leaving them to be inspired by the breath of life by Heqet, shown symbolically holding an Ankh to the lips of the infant. Both deities are shown in sculpture form at the Queen Hatshepsut temple in Deir el Bahri, Egypt. Another temple, dating from the Ptolemaic period, is specifically devoted to Heqet (Qus, Egypt.) On a more esoteric level, Heqet came to be associated with resurrection and the traverse of the soul to the stars in the afterlife.


From the perspective of working with Heqet's archetype in the TOT-KGD, the use of a frog totem is highly desirable. Heqet vibrations are also strongly accessible during rainy seasons or any times of excess moisture. Of course these are just the minimal elements of successful invocation.


Another primordial typhonian archetype suggesting the initial rise of cosmos out of chaos is Sobek (or Sebek), the crocodile god. Some tales have this archetype as being the first to rise out of the waters of the Abyss into creation. Apparently sometimes seen as female, Sobek was said to have crawled out of the primal waters of Nu to lay eggs upon the riverbank, thus creating the world. In this regard she/he is somewhat cognate to Heqet, with whom he is occasionally paired; he is also said to be the father of Khnum (the bull-header potter of flesh, mentioned above). Devotion to Sobek was so great in some littoral areas of Egypt (Al Fayyum, etc.) that temples had their own crocodile mascots who were well cared for and mummified upon death and interred in special cemetaries, although this was not a universal practice. Sobek was an ambiguous deity, both feared for its ferocity and respected for the same reason. He was sometimes interpreted as a healer of dysfunctional situations, even travelling to Amenta (the underworld) to perform restoration of sight and senses on certain worthy individuals, although not resurrection per se. Sobek was thus something of a facilitator or perhaps even guardian of sorts. In this depiction, the crocodile form was depicted as holding an Ankh of life, or else (or in addition to) wearing the Uraeus, symbol of authority and physical power.

The fierce, lionness-headed goddess Sekhmet, who scorches mankind with breath like the desert wind and laps up the blood (excreted essences of life) from the initiate is a particularly potent Khemite deity archetype not unlike the Indian Kali. Here we move from the watery archetypes above to those more associated with fire and air, however, thus generating very different vibratory states of a more active and projecting quality rather than the passive and receptive quality of the god-forms noted above. Another noteworthy god-form of this firey-air nature is Sutah (Set.) Such god-forms are fitting for initial works of setting up protective fields or as warders / guardians for the physical form prior to entering into the more receptive states implied by other god-forms and practices.


In the Indian tantric tradition, of which the Typhonian current is a Western exemplar, important cognate deity-forms include Kali (Black Ego-Devouring Goddess), Chinnamasta (the Self-Sacrificing Goddess who Consumes Her Own Emanation) and others. The most important theriomorphic archetype form this tradition, and cognate to Typhon, is the mahanaga (great serpent) known as Shesha. This is a vast, primal serpent that floats upon or within the Abyss and upon which Vishnu rests at the beginning and ending of a creative cycle. Shesha is the only manifest deity to remain following the dissolution that takes place at the end of a cycle of aeons. It is depicted as either a seven-headed serpent (suggesting the seven chakras) or a multiple-hundred-headed serpent (thus suggestive of Typhon.) His importance is implied by some of his alternative epithets: Seshananta (Endless Sesha), Adishesha (Primal Sesha), etc.


Techniques

Primary tantric practices of our Typhokaosian tradition include, of course, fire-snake (
kundalini) yoga (with emphasis on the 2nd and 6th chakras, the former being the most frequently “occluded” or blocked by conditioning and the latter being the most useful to activate for various visionary purposes.) There is also the practice of yoganidhra or the magical/magnetic trance state, as well as viparita maithuna (reversion of the senses, with energy going into the ajna chakra.) The above-mentioned nivritti marga (counter-force path) is a related concept.


In the Vaishnavite (Krishna) tradition, the typhonian impulse is submerged if not denied outright by the proponents of exoteric, mundane sectarianism. However, some remnant of the original and most ancient worship may possibly be glimpsed in the first five avatars of Vishnu, namely, Matsya (the Fish); Kurma (the Tortoise); Varaha (the Boar); Narasimha (the Lion-Man); and Vamana (the Dwarf; cf. Bes, above). The first four of these avatars are zoomorphic and all date to the earliest period of civilization. In fact, the first four avatars all appeared during the Sat Yuga, the “Truth Age” or first aeon of manifestion in this cycle.

In the Tibetan tradition, the typhonian current is observable in some pre-Buddhist
Bon beliefs and practices of a shamanic character, as well as in the meditational deity Vajrayogini (Dorje Phagmo.) Specific practices most allied with the typhonian methodology of initiation are the chod (direct cutting of attachment) and certain Nyingmapa and Dzogchen practices, as well as those of the Drukpa (Thunder Dragon) school. Dream and visualization yoga practices (utilizing bija mantras and deity visualization) take precedence in our path.


Emblem

Our emblem shows the Rosy Cross of the Golden Dawn containing the 22 letters of the Assyrian Hebraic script arranged on three concentric rows of petals containing (from the inmost outwards) the three mother letters, the seven planetary letters, and the twelve zodiacal letters. It is superimposed upon the Eightfold Star of Kaos, representing the 8 directions of space. The four cardinal direction arrows are depicted in full, whereas the “other” four or diagonal arrows are drawn as if hidden or occulted, symbolizing the esoteric nature of these “inbetween” directions. The whole emblem is in the midst of a vague field of Violet or Mauve, representing the Abyss of Manifestation / Unmanifestation.


Gematria

Important magical numbers within the framework of the TOT-KGD include those of mostly Lunar nature, specifically the root numbers 9, 13, 81, and others to be explored in due course. Numbers derived from these (e.g., 52, or 13 foursquared) are also available for exploration. Other numbers of non-lunar nature are also worthy of notice herein, including the all-important 11 (number of Magick and the Hidden Gateway Daath) and, to a lesser extent, 7 and 8 (Venusian/Mercurial currents; also connected with the Seven Stars of the Goddess and the Eighth or Child, Sothis.)


Typhokaosian Banishing-Invoking Ritual


Grades of the TOT-KGD (Provisional)


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