KAMALA-JNANA ALCHEMIC WORK

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Kamala-Jnana is the nom the plume of a contemporary alchemist's that was a Superior of the Temple of Ajunta of F.A.R.+ C in France. The Collegial Al-kimia to which we also belong, is also the External Circle of the Old Fraters Rosa + Cruz headquartered in France. With Roger Caro's death the Collegial Al-kimia has fallen asleep.

According to the Introduction of his book "Dictionaire De Philosophie Alchimique", to all appearances, the name of Kamala-Jnana would be Jean and he would have died from an accident. His brother, Pierrot, also died some time ago, would have kept with the goods of his works, the ones which, after his death, went to friend's hands whom in turn, gave them to a gentlemen by the name of Pierre Deleuvre to publish it.

The Work of Kamala-Jnana, under the alchemic point of view is of an extraordinary beauty. At the first view, for an experienced alchemist, it seems to be of a great simplicity. But great obstacles will show themselves for those who think like this. Under that apparent simplicity hides a "key" (secret) of operative difficulty that makes one spend years of his life studying this magnificent alchemic work without any advancement.

The Master had several disciples of which we met two only: Roger Caro author of some alchemy books such as, "Concordances Alchimiques" and "Tout Le Grand Oeuvre Photografie" and Jean de Clairefontaine, "Apocalipse Revelation Alchimique" author's book.

Kamala-Jnana wrote several books about the Art, of which the most popular being the Dictionaire De Philosophie Alchimique.

As its title indicates, this book describes his whole work under the form of a Dictionary, which contains some colour pictures of several phases of the work taken by the author

In 1968 Roger Caro, with the authorisation of the Emperor of the Temple of Ajunta, arrange the publishing of the book "Tout le Grand Oeuvre Photographie". As its title indicates, this small volume contains 43 pictures taken by Kamala-Jnana and assembled by Work sequence with the respective description by Roger Caro.

Rumours that Roger Caro would be Kamala-Jnana himself, is in contradiction with what is written in the foreword of the book "Tout La Grand Oeuvre Photographie".

«It is a satisfaction for me to give my testimony to our great friend Roger Caro's accomplishment.

A more arduous work was never executed with so much patience, tenacity, safety and competence.

A puzzle constituted by forty quadricomias in bulk, dispersed and without legend was reconstituted and commented with mastery.»

«These pictures that formerly were taken by our deceased and such longing son Kamala-Jnana in the continuation of an alchemic experience in Ajunta, could not be published otherwise then by you my dear great master…»

That is more than evident proof that Roger Caro never could be Kamala-Jnana.

The Kamala-Jnana's way is, essentially, a humid way, the more noble of the entire alchemic path. The several phases of the Work are the following, according to the Master's teachings and of Jean de Clairefontaine:

The duration of the complete Work is of 28 philosophical months, distributed like this: Preparation-2. Solve-8. Coagula-16. Multiplication-2. Total: 28.

We want to draw your attention to this "time" as it is not real, but philosophical, just as the Master in Dictionaire De Philosophie Alchimique explains it:

«Philosophical months don't have anything in common with the ordinary months. The philosophical months represent a conventional time. They are calculated so that the four quarters in the cycle of the moon are reduced to a 24 hours time frame and they coincide with the four stations of the Great Work, beginning in the winter.»

We leave it to your discernment the deciphering of it, which, in fact, is simple. The knowledge of this time is of great importance in the course of the work, for which we recommend not to continue without you knowing exactly what time represents a philosophical month.

After you understood this, you will need to know the matter or mineral subject as well as the agent or secret fire both represented symbolically by the figure in attachment.

Without the exact knowledge of the subject and of the secret fire, it will be totally impossible for you to begin the works. Therefore, we will begin by the prime matter or mineral subject.

The subject of our work is the red Dragon, that you can observe in the image and that the Cosmopolite identifies in "Nouvelle Lumiere Chimique", Retz, Paris, page 233:

«It is a stone and it isn't stone: it is called stone by its likeness, firstly, because its ore is truly stone, in the beginning, when it was extracted of the caves of the earth. It is a hard and dry matter that can be reduced in small parts and triturate as a stone. Secondly, because after the destruction of its form and of the division of its parts, that was composed and united by nature, it is necessary to reduce it to an only essence, to digest it sweetly according to Nature, in an incombustible stone, resistant to the fire, and melting as the wax.»

The Master was not very generous in the description of the characteristics of our mineral but he makes a synthesis of the whole work from the subject to the philosophical stone.

What more can we tell you that would identify it without surpassing the limits allowed by the tradition?

That it is a hard and heavy mineral that is abundant in China, in Spain and in other countries. That is light sensitive and, for that, when exposed for a long time to the direct action of solar light, it turns black at the surface. Formerly, in a very fine powdered form, it was used anciently in the oil painting.

It is best that you identify our mineral subject by its spirit spagyrical symbol, and for that, implore to the goddess Venus and also waning Diana (horned) to help you and then, by superposition of the two symbols, with the grace of God you will be rewarded.

By identifying its spirit spagyrical symbol, you will easily know the name of the mineral from where it is extracted. This is all that we can tell you to help you identify our mineral subject or red Dragon. There is not a point the more or a comma that lacks.

Seek a mineral exempt of silica and the more crystalline possible. If you don't get it, you will have to purify it by floatation in the following way. In an iron mortar, reduce to powder small pieces of our mineral. The subject is hard and, for that, you will have to crush it in small pieces, before you reduce it to powder in the mortar. Then you sift it in a sieve of 60 lines per centimetre or 120 for inch.

When you have sifted the powder, pour 500 g in a 1-litre large-mouth glass flask and pour enough tap water to fill it. Move circularly with a glass rod and when the fine powder is still floating in the water, spill it quickly in another flask.

Repeat the process again, until all of the mineral’s fine powder passes all together with the water in the other vase, leaving at the bottom of the first flask the siliceous dregs.

By decantation, flow all of the water and let the mineral to dry in the shade to the shelter of the direct solar light because, as we said, this mineral is light sensitive.

Keep it in a closed large-mouth glass flask to the shelter of the light.

The salt or secret fire is the agent that provokes all the transformations in the matter or mineral subject, being, for that, the key of the whole Work.

What can we say about the salt or secret fire, concerning its identification by the brothers in the Art, without surpassing the permissible limits and without revealing it clearly?

That it is a true saline fire that is prepared by the artist starting from matters of the vegetable and mineral kingdom.

To this respect, Basil Valentine, in "Les Douze Clefs De La Philosophie", p 132, says:

«If anything be reduced to ashes and treated according to the Art, you will extract your salt.»

To be more charitable we will identify the provenance of one of the fires, just as the Master describes it in "Dictionaire De Philosophie Alchimique":

«Acacia: the acacia, in alchemic terms, is a tree that contains much of the calories suitable to feed one of the secret fires of the Sages.»

«Oak: As the acacia and the fern, this tree contains, in itself, many calories suitable to feed one of the fires of the Sages.»

In relationship to the second salt of mineral origin we will try to identify it as much as possible.

It is a very common stone that has in its interior a latent fire after having been subjected to the action of the vulgar fire and as incredible as it may seem, the water wakes up this fire for some time.

In Le Triomphe Hermétique, Limojon de St. Didier, p 43 says:

«Consider, only, with application, that this natural fire is, however, a skilful invention of the artist; that it is suitable to calcine, to dissolve and to sublimate the philosophers' stone, and that there is no other fire species in the world, capable to produce a similar effect. Consider that this fire is of the nature of the quick lime and that, it is no strange relatively to the philosophy subject.»

This was the best way that we found to describe you the characteristics of this double saline fire that is extremely caustic and corrosive.

The Master in "Dictionaire De Philosophie Alchimique" identifies the matters of his Work through three words inscribed in the Indian and Tibetan temples considered sacred whose translation a brother transmitted charitably to us:

Kshàra. Ogàs. Hingula.

If you are sufficiently perspicacious you will identify in these three words (one letter of each) the actual chemical formula of the secret fire.

Here it is brothers, the "key" that will allow you to identify and after to prepare as the Art demands, the double saline fire that will open you the doors of the Work, if you know how to understand it.

To help you, we made by photo assembly the image in attachment. We made possible to transmit to you this key practically in clear language and we are sure that an Artist with some experience will understand it. The other ones, pseudo-alchemists and blowers, will rest as always were they are?