Gnosticism (Greek: γνῶσις gnōsis, knowledge) refers to diverse, syncretistic religious movements in antiquity consisting of various belief systems generally united in the teaching that the material cosmos was created by an imperfect god, the demiurge with some of the supreme God's pneuma; this being is frequently identified with theAbrahamic God, (as opposed to the Gospel according to the Hebrews) and is contrasted with a superior entity, referred to by several terms including Pleroma and Godhead.^[1]Depictions of the demiurge—the term originates with Plato's Timaeus^[2]—vary from being as an embodiment of evil, to being merely imperfect and as benevolent as its inadequacy permits. Gnosticism was a dualistic religion, influenced by and influencing Hellenic philosophy, Judaism (see Notzrim), and Christianity;^[3] however, by contrast, later strands of the movement, such as the Valentinians, held a monistic world-view.^[4] This, along with the varying treatments of the demiurge, may be seen as indicative of the variety of positions held within the category.

The gnōsis referred to in the term is a form of mystic, revealed, esoteric knowledge through which the spiritual elements of humanity are reminded of their true origins within the superior Godhead, being thus permitted to escape materiality.^[5] Consequently, within the sects of gnosticism only the pneumatics or psychics obtain gnōsis; the hylic orSomatics, though human, being incapable of perceiving the higher reality, are unlikely to attain the gnōsis deemed by gnostic movements as necessary for salvation.^[6][7]Jesus of Nazareth is identified by some Gnostic sects as an embodiment of the supreme being who became incarnate to bring gnōsis to the earth.^[8] In others (e.g. theNotzrim and Mandaeans) he is considered a mšiha kdaba or "false messiah" who perverted the teachings entrusted to him by John the Baptist.^[9] Still other traditions identifyMani and Seth, third son of Adam and Eve, as salvific figures.^[10]

Whereas Gnosticism has been considered by scholars to originate as a branch of Christianity, alternate theories have proposed traces of Gnostic systems existed some centuries before the Christian Era, thus predating the birth of Jesus.^[11] The movement spread in areas controlled by the Roman Empire and Arian Goths ^[12], and the Persian Empire; it continued to develop in the Mediterranean and Middle East before and during the second and third centuries. Conversion to Islam and the Albigensian Crusade(1209–1229) greatly reduced the remaining number of Gnostics throughout the Middle Ages, though a few Mandaean communities still exist. Gnostic ideas became influential in the philosophies of various esoteric mystical movements of the late 19th and 20th centuries in Europe and North America, including some that explicitly identify themselves as revivals or even continuations of earlier gnostic groups.

The Lost Book of Nostradamus – Apocalypse

In 1994, Italian journalist Enza Massa was at the Italian National Library in Rome when she stumbled upon an unusual find. It was a manuscript dating to 1629, titled: Nostradamus Vatinicia Code. Michel de Notredame, the author's name, was on the inside in indelible ink. This manuscript, never published by Nostradamus, was handed down to the prophet's son and later donated by him to Pope Urban VIII. It did not surface again until now, almost four hundred years later.

The cryptic paintings vary from the strange to the bizarre, with images of popes,decapitations and strange creatures.  Known as the "Vaticinia Nostradami",this book has often been considered to be Nostradamus' final propheciesregarding the end of the world as we know it.  It was said that Nostradamushad handed the book over to his son who in turn was to donate it to a cardinalat the time who later went on to become Pope Urban VIII; the book eventuallyended up in the library.In both the paintings and the accompanying quatrains within, Nostradamus is saidto have predicted the Nazi Blitzkrieg, the assassination attempt on Pope JohnPaul II, the burning of the oil wells of Kuwait by Iraq, and Boris Yeltsin'srise to power.

Some of the paintings reveal new prophecies, while others are eithergenerally indecipherable or linked to earlier quatrains, but not indicated. Among the paintings are a Pope with the body of a dog, female priests, clergymenbeing attacked and a black-skinned pope.  Following are original imagesfrom the Nostradamus Vatinicia.

Gospel of Thomas

From Wikipedia, the free encyclopedia

For a similarly titled work, see Infancy Gospel of Thomas.

Texts of the Nag Hammadi library

The Gospel According to Thomas, commonly shortened to the Gospel of Thomas, is a well preserved early Christian,non-canonical sayings-gospel discovered near Nag Hammadi, Egypt, in December 1945, in one of a group of books known as the Nag Hammadi library.^[1]

The Coptic language text, the second of seven contained in what modern-day scholars have designated as Codex II, is composed of 114 sayings attributed to Jesus.^[2] Almost half of these sayings more or less resemble those found in theCanonical Gospels, while the other sayings were previously unknown. Its place of origin may have been Syria, where Thomasine traditions were strong.^[3]

The introduction states: These are the hidden words that the living Jesus spoke and Didymos Judas Thomas wrote them down. ^[4] Didymus (Greek) and Thomas (Aramaic) both mean "twin". Scholars suspect this reference to theApostle Thomas to be false and the true writer remains unknown.^[5] The document probably originated within a schoolof early Christians, possibly proto-Gnostics ^[6] Even the description of Thomas as a "gnostic" gospel is based upon little other than the fact that it was found along with gnostic texts at Nag Hammadi.^[7] The name of Thomas was also attached to the Book of Thomas the Contender, which was also in Nag Hammadi Codex II, and the Acts of Thomas.

The Gospel of Thomas is very different in tone and structure from other New Testament apocrypha and the four Canonical Gospels. Unlike the canonical Gospels, it is not anarrative account of the life of Jesus; instead, it consists of logia (sayings) attributed to Jesus, sometimes stand-alone, sometimes embedded in short dialogues or parables. The text contains a possible allusion to the death of Jesus in logion 65 ^[8] (Parable of the Wicked Tenants, paralleled in the Synoptic Gospels), but doesn't mention crucifixion,resurrection, or final judgement; nor does it mention a messianic understanding of Jesus.^[9][10] The Early Church believed it to be a false gospel. Eusebius, for example, included it among a group of books that he believed to be not only spurious, but "the fictions of heretics" that should be thrown out as absurd and impious.^[11]

Century 10, Number 72 - Grand Cross Astrology pattern of August 1999.

Europe - Carnival 2000

Europe - Carnival 2000, originally uploaded by MichelAngelo▲.

Century 10, Number 72

Let us consider the Grand Cross Astrology pattern of August 1999. On August 18, 1999, there was an unusual alignment of planets in a Grand Cross shape, possibly the most unusual Astrological alignment seen in the last two thousand years. And one week before, on August 11, 1999, there was a solar eclipse seen over Europe. The Grand Cross, which is one of the most amazing astrological alignments ever seen in history, consisted of: the Sun, Venus, and Mercury in the sign of Leo, Mars and the Moon in Scorpio with Pluto close by in Sagittarius, Saturn and Jupiter in Taurus, and Neptune and Uranus in Aquarius. If Scorpio is considered to be the Eagle, and Aquarius the man, then we have the four beasts seen in Revelation 4 that sit at the throne in heaven, that have the faces of an eagle, a man, a lion, and a calf, in Revelation 4:1-8 (King James Version):
"a throne was set in heaven...
and there was a rainbow round about the throne, in sight like unto an emerald. ...and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle."

Concerning the solar eclipse over Europe on August 11, there is a prophecy by Nostradamus that is of interest. Some of the prophecies do have dates, including Century 10, Number 72:

"In the year 1999, in the seventh month,
from the sky there comes a great king of terror,
to bring back the great king of the Mongols,
Mars rules triumphantly, before and after"

The War Of MABUS - The Modern Art Robot - 3

Apollo, originally uploaded by MichelAngelo▲.

lizadreams says:
Your work is very good. Sculpture must be very difficult! You definately have a gift. You should do some original work.

This opinion is a typical prejudice of whom does not know a thing about classic sculpture. It's typical from modern art robots. Any brief look at pics on an average book of greek-roman culture reveals how different this piece is from the original classic nude.
I would like to see the face of those who thinks this piece is not that original when they become aware of how this Apollo's body is unique. The complex anatomic distortion creates a 360º visual impact. There's no relation with the natural body. I would like to ask if someone could imagine how I did it. I bet that nobody can even wonder.
This lizadreams makes Picasso-like paintings. I spent my last two decades observing thousands of Picasso-like "artists". I cannot even point out who is who. Nowadays the guidelines of "how to be original" are imposed by the modern global culture. Thanks God I have enough soul to scape from this stupid global art destiny.

Essa opinião é o típico preconceito de quem não sabe porra nenhuma de escultura clássica. É algo típico de robôs da arte moderna. Uma rápida verificada em um livro qualquer de cultura greco-romana revela como esta minha obra é diferente dos nus clássicos.
Gostaria de ver a cara das pessoas que pensam que esta obra não é original no dia que tiverem consciência de como o corpo do Apolo é único.A distorção anatomica cria um impacto visual em 360º. Não há relação alguma com o corpo natural. Gostaria de perguntar se alguém imagina como fiz essa escultura. Duvido que alguém me responda.

Essa lizadreams faz pinturas tipo Picasso. Passei duas décadas conhecendo milhares de "artistas" desse tipo. Nem consigo distinguir um do outro. Mas hoje em dia existe uma cultura global moderna ditando como ser original. Agradeço a Deus por ter alma suficiente para escapar desse destino global imbecil do mundo da arte.

The War Of MABUS - The Modern Art Robot - 2

Sagrada Família, originally uploaded by MichelAngelo▲.

lizadreams says:
I like this !

What a surprise… She likes my process. This is the typical behavior of modern art robots: pointing out some gestures and fragments of material that looks unusual. What a jerk. Did she ever stop to think about the desperate search of the new imposed by today's unique view of art?

People don't get my art because of the forgotten visual science of my time. My understanding of the world is complete different. Although I'm living in today's world, the art experience that guides my hands comes from my first life. When the need to express the transcendence of the human figure was the main aspect of every representation. It was virtually impossible to separate the teological from the classical issue. The christian stories were the ultimate human expression and the images of the classical past was a mystery to be recovered.
So how can I explain to modern art robots what was my intentions on this colored study for a Sacred Family?
I made this drawing using a white chalk to think the composition one more time. The colors were a quick option to make a 3D ilusion.

The War Of MABUS - The Modern Art Robot - 1

Old Head, originally uploaded by MichelAngelo▲.

This woman, lizadreams, is the typical modern art robot.
She was the first retarded to attack me. The way she tried to point out a lack of divinity on my work would be funny, but it's just human stupidity in its normal scale.
My reply was polite. I though she would debate with me.
But how could a debate occur when the concerning aspect of discussion is some divine quality that she saw on my Italian drawings? I could show to her many Italian drawings so bad executed that I do not recognize these drawings as having been made by me.

lizadreams says:
Your drawings are good..great, but something is missing. You are still a great artist, far better than I'll ever be, but you're no M.Angelo. M.Agelo's work had divine beauty in the most simple sketches and even in the ugliest figures and portraits.

MichelAngelo▲ says:
You are wrong, lizadreams.
I'm MichelAngelo.
You just can't admit it to yourself because you envy me.
If you knew a little about the art of sculpting you would understand my geometric language of the male nude.
That's what proved my identity to myself, 18 years after the remembering of Vittoria's death.
That's what I'm going to expose to everybody.
But you can't even know what I'm talking about because there's nothing in books about my spatial reconstruction of the human anatomy.
What a pity.
What do you mean about divine beauty?
Could you give me an example?
That sounds to me like pure fetish.
Keep your fetish on ancient art to yourself, OK?
Just an information: this drawing was made in 1985.

Português:
Essa mulher, lizadreams, é o típico robô da arte moderna. Apesar de ser uma boçal, eu acho que vale a pena postar a opinião dela.
Essa colocação dela, de que o meu desenho não possui a qualidade divina dos meus desenhos italianos, seria motivo de riso não fosse apenas expressão da estupidez humana mais comum.
A atitude incondicional de ver o divino em rabisco antigo é típica de turista deslumbrado com aquilo que sequer entende a natureza. O problema é que há desenhos atribuídos a mim que eu não os reconheço como sendo meus. Alguns porque são simplesmente toscos e outros por estranheza em relação à construção visual. E ela acha tudo "divino". PQP… Mas eu sabia que encontraria retardadas desse gênero assim que abrisse a minha história.

More than one year presenting myself: the reactions - 3

There's an important point that people are not getting about my attitude and it reveals the automatism of some reactions. Why I'm not presenting myself with my "real" name: Carlos Eurico Poggi. Why is that? Let me explain it once and for all:
I have already did it. I was in my early thirties and I was trying to build up a normal life.
When the supernatural experience was on during the period of 1979 to 1991, I hid everything. After that, I presented myself formally as "Carlos Eurico Poggi" in every professional opportunity, from 1992 to 2007. I tested all types of normal bios about me. I wasted time and money inventing lots of explanation just to cover up the real story behind me. The result was awful. The misunderstandings on my artistic goal was impossible to solve.
So it's easy to see that I'm not a weird newcomer trying to call attention. I have all that fake portfolios to prove what I'm writing here.
The situations I faced was so terrible that I had decided to give up my classic art as a way to survive. And I was doing fine as a contemporary artist. Once again I have all the images to prove what I'm telling.
The main reason behind my choice to reveal my story and present myself as MichelAngelo BuonaRoti (something that the majority of you will not understand) is the spiritual duty behind it.
I do not want to convince anybody about nothing. I don't even like what I'm doing. I just know I have to do it. I hate what happened to me from 1979 to 1991. I hate having to explain it. So it's not easy to get my intentions and the anger and aggressiveness that come with it. It's the only thing left to me to do with all that crap of being MichelAngelo: to take revenge on stupid people. And I will not have any mercy with these trashes.
After all those years being attacked by the stupidity of the normal ones, now it's my turn to strike back. And I will do this FOREVER, until my last day in this doomed life.

More than one year presenting myself: the reactions - 2

Before start posting and pointing out who are the people that attacked me until now, there some aspects of my nowadays situation that I have to explain:
First of all, none brazilian wrote a single word to me that I have to respond in a agressive way. The reason is simple: my documentary film. Altough I exposed a very summarized version of what I lived in the 80's and 90's, the lack of language barrier is enough to reveal the emotion behind my todays attitude. The communication is complete.
The second aspect of my brazilians compatriots that I'm going to point out however maybe be sounds as a bad comment on their behavior: modern brazilian culture don't give a shit about antique european art. To be more accurate on my criticism, the european legacy is seen by educated brazilians as something to be vanish in the name of the pure brazilian identity in art. Cutting short: they don't see any meaning in some weirdy guy claiming to be the original Michelangelo. For brazilians, the italian renaissance is just a part of History and a good theme to be explored in the next vacation. Nothing more.
The only people that I always have noticed an unrestrained interest on my art work through all these years are the americans. The american passion about the italian renaissance can be verified easily just observing which are the most viewed productions on the cable TV etc.
And there was no surprise when I saw the first person to write to me just two days of presenting me as Michelangelo: an american. When I read his email asking me "Hi Michelangelo! Do you have plans for a new afresco painting?" I tought he was joking, but he was not!
I think also that the sci-fi culture in the US helps a lot in attracting attention to my situation in life. In fact the only three people that attacked me until now are americans because the passion about Michelangelo, and the passion about antique art. For them, the americans, the misterious of the italian renaissance is sacred, for them, it's the art that really matters.

More than one year presenting myself: the reactions -1

Since I started presenting myself as Michelangelo himself, the most weird reaction was the inverse identification of my art.
During the 90's, when I was looking for a living with my art and presenting me as Eurico Poggi, I spent more than 10 years hearing the same crap: "Hey! All your pieces are from Michelangelo! Don't you have anything created by you?" This judgment of any photo of my art work was so automatic that I found myself trying everything to erase my Michelangelo's style. I needed to be accepted as an artist. And the only solution was to completely avoid drawing and sculpting.
But 2007 came and I realized that there would be no solution to my life without exposing my secret personal story. By the end of 2008, after the release of my documentary film "Icarus, Contemplation & Dream", when I finally presented my art work with the true context that generated it, I understood that I had to present myself as the original Michelangelo. And I came to the internet and changed all my profiles wherever I have one.
What a surprise. As a "lunatic" claiming to be the famous italian renaissance artist, for the first time in my life I met people that don't even think my art being close to the works of Michelangelo. Why is that? Do you know why? I know the explanation to this twisted reaction to my art.
But… beyond this politics of ego recognition, I saw that the best way to create a dialogue between me and people in general, and spread my personal story, is to be attacked. Yeah! I have to be attacked! And I love to strike back!
The next posts I will show the only three attacks I have suffered until now. My intention is to start a war, any kind of war, but none of my "enemies" didn't respond to my verbal retaliation. It's very disappointing, but I still have a great hope to have a huge argument with someone with balls to do so.

The Resurrection - Study for a figure - The Falling

The Resurrection - Study for a figure - The Falling, originally uploaded by MichelAngelo▲.

Graphite pencil on paper. 1990.
This drawing shows one of my most developed work on body movement design. When I conceived this I still didn't realize what it was for. "From what exactly he is trying to escape?" I asked myself.

The Resurrection - Study for a figure - The Rapture

The Resurrection - Study for a figure - The Rapture, originally uploaded by MichelAngelo▲.

Graphite pencil on paper. 1990.
This sketchy top view of a desperate figure would be fit somewhere in the composition. But now I'm not sure where it was the final position of the piece.