Category: Science

Science History

  • Supernova SN 1054 Observation in the past – Kaifeng Observatory  (Tianguan Guest Star)

    Supernova SN 1054 Observation in the past – Kaifeng Observatory (Tianguan Guest Star)

    This essay is an virtual evolution observation report of supernova SN 1054, my astro images and spectra done with SLOOH using historical records of the supernova event and spectra of the recent supernova SN 2018zd. There’s consensus that SN 2018zd is of the same type and sub-type as SN 1054 was. To create a virtual evolution spectrum some early spectra of SN 2018zd simulate early SN 1054 spectra of the remnant of SN 1054, the Crab Nebula added. The supernova suddenly appeared out of nowhere as a brilliant “guest star” on July 4, 1054 but this was not a one-off personal observation. It was discovered during routine institutional observations and followed up by a formally recorded, long-term monitoring and recording campaign. Spectroscopy of course did not exist 1054, however sophisticated instruments were used to measure the brightness and position of the supernova.

    SN 1054 is the best-documented pre-telescopic supernova. Chinese, Japanese and (more controversially) other records place its first appearance around 4 July 1054, with a brightness (in today’s terms) near V≈−3.5V≈−3.5 — comparable to Venus — and daylight visibility for ~23 days. It remained visible to the naked eye at night for roughly 650 days, fading below V∼+5.5V∼+5.5 by April 1056.

    The Sitian Jian (司天监, Bureau of Astronomy) operated as a permanent government observatory, with officials whose regular duties included watching the sky for any anomalous phenomena—including “guest stars” (客星). A bright new object near Tianguan would therefore have been noticed as a matter of routine, not as an unexpected discovery requiring a special search.

    The actual positional measurements—the data that allow modern astronomers to confirm the identification with the Crab Nebula—were most likely made using the Huangyou armillary sphere in the Hanlin observatory, by astronomers of that department, operating as part of the same broader astronomical establishment

    For the historical supernova SN 1054 (which created the famous Crab Nebula), the clear indication that it belongs to the broad category of Type II—rather than Type Ib or Ic—is the abundant presence of hydrogen in its remnant filaments.

    Because the explosion happened roughly a millennium ago, astronomers could not take a live light spectrum of the event. Instead, they analyzed the expanding wreckage today. The thermal gas filaments in the Crab Nebula contain significant amounts of unstripped hydrogen, meaning the progenitor star absolutely retained its outer hydrogen envelope when it blew up. This rules out stripped core-collapse types (Ib and Ic).

    However, the reason astronomers heavily debate the exact subtype is because SN 1054 features a highly unusual contradiction: it was exceptionally bright historically, but it has very low explosion energy today,

    Messier 1 / NGC 1952 is that same object, 970 years later. Modern images (Hubble, JWST, Chandra, VLT/MUSE) show:

    • A filamentary oxygen- and sulfur-rich network — the shocked ejecta — expanding at ~1500 km/s.
    • A synchrotron nebula powered by the 33 ms Crab pulsar, dominating the optical continuum.
    • A pulsar-wind torus and jets (Chandra) that trace the energy injection still ongoing.
    • A hydrogen-poor, helium-rich composition in the filaments — the outer H envelope was stripped or never fully retained, which is one reason a IIn-P channel is worth taking seriously.

    A spectroscopy adds the bridge between the 1054 eyewitness accounts and the 2024 images:

    1. Early phase (days–months) — modern Type II SNe show hot, blue continua with broad H P-Cygni profiles at v∼104v∼104 km/s. This is exactly the regime your synthetic spectrum #1 models. The historical “daylight visibility for three weeks” is consistent with such a luminous, hot photosphere.
    2. Nebular phase (months–years) — the continuum fades and forbidden lines of [O I], [O III], [Ca II], [S II] and [N II] dominate. This is your spectrum #2, and it is the phase in which the SN would have faded below naked-eye limits (~April 1056).
    3. Remnant phase (centuries–millennia) — the ejecta are now shock-heated and photoionized by the pulsar. The Crab filament spectrum (#3) is not a cooled SN spectrum; it is a pulsar-ionized plasma spectrum. The [O III]/Hβ ratio, the strength of [S II] λλ6717,6731, and the weakness of Hα relative to [N II] all encode the current ionization parameter and density.

    The reason a velocity-driven P-Cygni model matters for astroarchaeology is that the expansion velocity is the one quantity that survives from 1054 to today. The historical light curve tells you when the ejecta were hot; the modern filament .

    1. SN 1054 Historical Observation Report: The Tianguan Guest Star

    The Chinese accounts are well preserved and detailed. The oldest and most detailed accounts are from the Song Huiyao and Songshi, historiographical works whose extant text was redacted perhaps within a few decades of the event. The Song Huiyao (literally “Collected Important Documents of the Song Dynasty”) covers the period 960–1220. The Huiyao is a traditional form of history book in China which aimed mainly to preserve primary sources.

    By the time of the Qing Dynasty, except for a synopsis, only a relatively small portion of those accounts was preserved as part of the imperial Yongle Encyclopedia, extracted and re-published as the Song Huiyao Jigao (the “Draft Extract of the Song Huiyao“). This document recounts the observation of the guest star, focusing on the astrological aspect but also giving important information on the visibility of the star.

    Zhihe era, first year, seventh lunar month, 22nd day. […] Yang Weide declared: “I humbly observe that a guest star has appeared; above the star there is a feeble yellow glimmer. I respectfully note that the Prognostications in Respect of the Emperor [《皇帝掌握占》] says: The fact that the star has not overrun Bi and that its brightness is full means that there is a person of great worth. I request that the Office of Historiography be informed of this.” All officials congratulated the Emperor, who ordered that his congratulations be forwarded to the Office of Historiography.

    First year of the era of Jiayou, third lunar month, the Director of the Astronomical Office said: “The guest star has disappeared, which means the departure of the host [that it represents].” Previously, during the first year of the Zhihe era, during the fifth lunar month, it had appeared at dawn, in the direction of the east, under the watch of Tianguan (天關, Zeta Tauri). It had been seen in daylight, like Venus. It had rays stemming in all directions, and its colour was reddish-white. Altogether visible for 23 days.

    Note: Some scholars identify this “Director of the Astronomical Office” with Yang Weide, but the text does not explicitly name him..

    1.1. Observing and Reporting Body

    The textual record supports this. The Song Huiyao states that the guest star was first seen in the fifth lunar month (July 1054), and the Sitian Jian’s final entry in April 1056 declares simply, “The guest star has vanished.” Between those two dates, the record notes specific observational details: “in the morning it appeared in the east, guarding Tianguan; in daylight it was seen like Venus, with pointed rays shooting out, of a reddish-white color.” This kind of sustained, structured attention—tracking visibility phase, color, brightness, and duration—is exactly what a routine monitoring program would produce. The object was actively followed for its entire ~653-day visibility period, not merely noted once.

    Yang Weide (杨惟德), a retired official, submitted a personal memorial on August 27, 1054, interpreting the guest star as an auspicious omen. Yang Weide’s memorial of August 1054 did not initiate the observation; it triggered the institutional machinery to formally interpret and archive what the bureau was already seeing. His report was astrological in purpose—he cited a prognostication text and requested that the History Office record the omen—but its practical effect was to ensure that the Sitian Jian’s observations were compiled into the permanent record.

    This is where a question about the equipment becomes decisive. The positional accuracy of the Chinese records is remarkably high for naked-eye observation, and scholarship on Song astronomy notes that Song Dynasty astronomers routinely achieved an observational accuracy of ±0.5°. That level of precision is not achievable by unaided visual estimation alone; it requires a graduated sighting instrument.

    The instrument almost certainly used was an armillary sphere (浑仪). The most advanced one available in Kaifeng in 1054 was the Huangyou Armillary Sphere (皇祐浑仪), completed around 1053 by the team of Shu Yijian, Yu Yuan, and Zhou Zong under Emperor Renzong’s orders. This instrument included a representation of the ecliptic (黄道) and was placed in the observatory of the Hanlin Astronomical Department (翰林天文院), inside the imperial palace.

    This creates a subtle but important institutional picture:

    • The Sitian Jian was the bureaucratic body responsible for the official record and its astrological interpretation.
    • The Hanlin Astronomical Department was a separate institution, also staffed by astronomers, that housed the state-of-the-art armillary sphere.
    • The two were closely connected; personnel moved between them, and Yang Weide himself had served in both.
    Primary Observing BodySitian Jian (司天监, Bureau of Astronomy). Maintained the official, continuous log of the event.Songshi (“司天监言”)
    Named ObserverYang Weide (杨惟德), often identified as a retired official (守将作监致仕), submitted a personal memorial on August 27, 1054(some Chinese sources give August 2, 1054), interpreting the guest star as an auspicious omen.Song Huiyao Jigao; Songshi, Tianwen zhi; Mengxi Bitan.
    Institutional ReportingThe Sitian Jian’s official record began with the July 4 observation and concluded with the April 1056 disappearance report.Songshi
    Cross-Check SystemTwo institutions (Sitian Jian and Hanlin Astronomical Department) were designed to independently observe and compare reports. However, Shen Kuo later documented collusion and fraud in the system.Mengxi Bitan (夢溪筆談) by Shen Kuo

    1.2. Historical Observational Data & Timeline

    Timeline / Observing BodyHistorical Chinese RecordModern Astronomical Notation & Value
    Discovery Date / Initial Appearance
    Songshi , Song Huiyao
    Zhihe Reign, 1st Year, 5th Lunar Month, Day Jichu; appeared near the star Tianguan (天关, ζ Tauri).

    “Appeared at the south-east of Tianguan, measuring several inches.”
    July 4, 1054 AD (Julian Calendar)
    Daytime Visibility
    Songshi , Song Huiyao
    Visible in daylight “like Venus” (太白
    ) for 23 days total duration
    Ended July 27, 1054 AD
    Naked-Eye Visibility
    Song Huiyao
    Jiayou Reign, 1st Year, 3rd Lunar Month, Day XinweiEnded April 17, 1056 AD (653 days total)
    Peak Brightness
    Song Huiyao
    “Visible in the daytime like Venus [Tai-bai], with pointed rays”Apparent Magnitude (mvm sub v𝑚𝑣): ≈is approximately equal to≈ –6.0
    Final Visibility
    Songshi, Chapter 12
    The Sitian Jian reported that the guest star had vanished.d finally vanished”Apparent Magnitude (mvm sub v𝑚𝑣): ≈is approximately equal to≈ +6.0 to +6.5 (Naked-eye threshold)
    Object ClassificationKè xīng (客星 — “Guest Star”)Type II Supernova (Core-collapse)

    1.3. Astrometric Position & Modern Remnant Localization

    Ancient observers used a water-driven armillary sphere to isolate the positioning coordinates relative to the established equatorial lunar mansions (xiu).

    • Historical Position Metric: “Several inches [cun] to the southeast of Tianguan.”
    • Reference Star (Tianguan): Identified as the modern star Zeta Tauri (ζzeta𝜁 Tau), marking the southern horn of the Taurus constellation.
    • Historical Separation: “Several cun” structurally corresponds to an estimated angular separation of 0.3∘0.3 raised to the composed with power0.3∘ to 0.5∘0.5 raised to the composed with power0.5∘.
    • Modern Coordinates of Remnant:
      • Right Ascension (RA): 05h 34m 31.97s
      • Declination (Dec): +22° 00′ 52.1″
    • True Position Delta: The modern remnant sits exactly 1.1° southeast of ζzeta𝜁 Tauri (0.9° South, 0.6° East). The minor angular discrepancy between the 1054 record and modern mapping is attributed to irradiation—the blinding, naked-eye glare of a magnitude –6.0 supernova visually blurring its proximity to the adjacent 3rd-magnitude reference star.
    • Modern Catalog Designation: Messier 1 (M1) / The Crab Nebula, featuring the central Crab Pulsar (PSR B0531+21).

    1.4. Original Text Excerpts & Astrological Context

    The appearance of this unpredicted object carried severe political risks for the imperial staff. Director Yang Weide successfully controlled the court narrative by framing the stellar physical attributes as a divine endorsement of Emperor Renzong:

    “晝見如太白,芒角四出,色赤白”
    “It was seen in the daytime, like Venus. It had pointed rays in all four directions, and its color was reddish-white.”
    — Song Shi (Astronomical Treatise)

    “客星不犯入太微,無芒角,且黃色,主國大旺,主君之昌。”
    “The guest star did not trespass into the Supreme Palace enclosure [the constellation governing the imperial court], its rays are non-threatening, and its yellow color indicates a flourishing state for the Empire and great prosperity for the Sovereign.”
    — Yang Weide, Report to the Throne (Song Huiyao Jigao)

    1.5. Observation Instruments

    Instrument Attribution
    Primary InstrumentHuangyou Armillary Sphere (皇祐浑仪) , an ecliptic armillary sphere completed c. 1053.Songshi, Chapter 76
    Instrument LocationPlaced at the observation platform of the Hanlin Astronomical Department (翰林天文院之候台) , inside the imperial palace.Songshi
    Other InstrumentsA clepsydra (漏刻) was placed at the Wende Palace bell and drum tower. A gnomon (圭表) was placed at the Sitian Jian.Songshi
    Sitian Jian’s Own SphereThe Sitian Jian had an older, less accurate armillary sphere made by Han Xianfu (韩显符) in the early 11th century.Songshi

    Primary Instrument for SN1054 Kaifeng observation was the Huangyou Armillary Sphere , an ecliptic armillary sphere completed c. 1053. Placed at the observation platform of the Hanlin Astronomical Department, inside the imperial palace.

    My images are from Beijing, China, ancient observatory built in 1442 during the Ming Dynastyr. Note in the tower picture below that the ecliptic armillary is a little more complex than the equatorial armillary. They were re-introduced by the Jesuits 500 years later; the design was close to Tycho Brahe. The Ecliptic Armillary tracks coordinates based on the plane of the Earth’s orbit around the Sun (the ecliptic). Because the ecliptic sits at a shifting 23.5∘23.5 raised to the composed with power23.5∘ angle relative to the Earth’s celestial equator, the instrument requires an intricate, multi-layered nest of nesting rings that must rotate within each other to align with both axes simultaneously.

    Beijing, China, ancient observatory tower built in 1442 the instruments are mostly younger. From left replica court yard, equatorial armillary (1673) and ecliptic armillary (1744).

    1.6. About Northern Song vs. The Tang Dynasty

    The common opinion about the Tang Dynasty (618–907 AD) being a intensely sophisticated is entirely correct—the Tang was an expansive, cosmopolitan, and highly artistic empire. However, the Northern Song (960–1127 AD) did not just pick up the pieces after the bloody chaos of the Five Dynasties and Ten Kingdoms period; it fundamentally evolved past the Tang into a proto-industrial scientific superpower.

    MetricThe Tang Dynasty SophisticationThe Northern Song Sophistication
    Cultural FocusAristocratic & Cosmopolitan: Dominated by poetry, silk road trade expansion, and international military reach.Technocratic & Meritocratic: Focus shifted entirely inward toward elite governance, heavy manufacturing, and intellectual specialization.
    Technological LeapInvention of woodblock printing; early experiments with basic iron casting.Mass Innovation: Widespread use of movable-type printing, advanced water-clocks, and state-wide coal and iron industries.
    The EconomyRelying largely on silk and physical copper coin trading routes.The invention of the world’s first paper currency (Jiaozi), alongside booming maritime trade networks.

    1.7. Kaifeng Observatory Evolution

    Zhang Sixun (979): Mercury, not water

    Zhang Sixun’s 太平浑仪 is often described as a “水运浑象” (water-driven celestial globe), but the whole point of his innovation was to replace water with mercury because water froze in winter. The Songshi records his justification: “今以水银代之,则无差失” — “Now if mercury is used instead, there will be no error.” The mercury dripped from a clepsydra-like device and filled scoops on a wheel, creating an escapement effect that rotated the astronomical display.

    So strictly speaking, Zhang’s instrument was mercury-powered, not water-powered. It was the anti-freeze solution to the water-powered tradition, not itself a water-powered device.

    Zhou Zong (c. 1049–1050): Not water-powered

    This is the most important correction to your original framework. Zhou Zong’s 皇祐浑仪 was a traditional bronze armillary sphere, cast under Emperor Renzong’s orders alongside new clepsydras and gnomons. The Songshi and other sources describe it as a精密 (precise) instrument with improvements to the equatorial ring and leveling mechanisms, but no water transport mechanism is attributed to it. The Yixiang bu jishi explicitly groups it with other non-water-powered instruments.

    Su Song’s later 元祐浑仪 (the armillary sphere atop his clock tower) absorbed structural improvements from Zhou Zong’s 皇祐浑仪—but it was Su Song who added the 天运环 (celestial motion ring) driven by water power to make the instrument rotate automatically. In Su Song’s own words: “于三辰仪上设天运环,以水运之” — “On the three-luminary instrument I installed a celestial motion ring, driven by water.”

    Su Song (1088–1092): Genuinely water-powered

    Su Song’s 水运仪象台 is the only one of the three that was unequivocally water-powered. A waterwheel drove the mechanism through an escapement, and the power was transmitted via a chain drive (天梯) to rotate the armillary sphere on the top platform and the celestial globe in the upper story.

    1.8. Usage

    So the three instruments do not form a single water-powered lineage. The actual development is:

    Mercury-powered (979) → Non-powered traditional bronze armillary (c. 1050) → Water-powered (1092)

    Zhang Sixun’s mercury innovation solved the freezing problem of earlier water-powered instruments, but his own device was mercury-powered, not water-powered. Zhou Zong’s instrument represented a return to traditional bronze armillary construction without any fluid drive. Su Song then combined the best structural features of Zhou Zong’s design with a new water-power system to create the first truly water-driven armillary sphere in this sequence.

    The Coordinate System:

    The Equatorial/Celestial Armillary Sphere (Top Deck): This did not have stars painted or engraved on it. It was an open nested framework of bronze rings aligned to the celestial equator and poles (an equatorial mount). It was mechanically rotated to track the sky automatically. To look up a star, an astronomer looked through a sighting tube attached to the coordinate rings.

    Star Catalog (RA and DEC)

    To use the top armillary sphere to find or track an object, they absolutely relied on a star catalog, though they used the traditional Chinese equivalents of Right Ascension (RA) and Declination (DEC): 

    • Instead of Right Ascension (RA): They used Ruxu (入宿), which translates to “Entry into a Lunar Mansion.” The Chinese split the equatorial sky into 28 uneven zones (Lunar Mansions). The catalog would state how many degrees eastward a star sat from the anchor star of its specific zone. 
    • Instead of Declination (DEC): They used Quji (去极), which means “Distance from the Pole.” This was measured in Chinese degrees (365.25∘365.25 raised to the composed with power365.25∘ to a full circle, matching the days in a year) starting from 0∘0 raised to the composed with power0∘ at the North Celestial Pole down to 91∘91 raised to the composed with power91∘ at the equator. 

    Workflow water-driven equatorial armillary

    The astronomer would open the star catalog (published in his treatise Xinyi Xiangfa Yao), look up a star’s Ruxu (RA) and Quji (DEC), manually offset the sighting tube on the armillary rings to those catalog coordinates, and lock it in. Because the water-driven “stepper motor” was constantly turning the equatorial ring, the astronomer could look through the tube at any time of night, and the star would stay perfectly centered in the crosshairs.

    The water-driven equatorial armillary could be described as an equatorial mount with a water-driven “stepper motor” as a pretty accurate analogy. 

    The “Stepper Motor” Analogy

    It used a massive waterwheel with scooping buckets. As water flowed at a regulated speed, a bucket would fill up. When it reached a precise weight, a counterweighted trip-lever dropped, allowing the wheel to advance by exactly one bucket-tooth. 

    This was a mechanical escapement mechanism—invented centuries before it appeared in European clocks. Because the motion moved in discrete, precise, mechanical increments controlled by a steady fluid flow, it functioned exactly like a modern hydraulic stepper motor, driving a gear train that slowly rotated the heavy bronze armillary sphere at sidereal speed (one full rotation per day). 

    1.9 Key Historical Sources

    The following are the major primary and secondary sources for the study of SN 1054 and the Kaifeng Observatory.

    Primary Sources (Chinese)

    • Songshi (宋史, History of Song): The official history of the Song dynasty. The “Treatise on Astronomy” (天文志) contains the primary record of the guest star’s appearance and disappearance. The “Treatise on Calendars and Harmonics” (律历志) documents the construction and placement of the Huangyou armillary sphere.
    • Song Huiyao (宋会要, Compilation of Essential Documents of the Song Dynasty): A collection of administrative documents. It provides a parallel and often more detailed account of the guest star’s appearance and Yang Weide’s memorial.
    • Mengxi Bitan (夢溪筆談, Dream Pool Essays): A collection of essays by the polymath Shen Kuo (沈括) , who was a director of the Sitian Jian. It is a crucial source for the institutional practices of the astronomical bureaus, including the cross-check system and its failures.

    Secondary Sources (Modern Scholarship)

    • Pankenier, D. W. (2006). “Notes on Translations of the East Asian Records Relating to the Supernova of AD 1054.” Journal of Astronomical History and Heritage, 9(1), 1-13. A key scholarly article that critically examines and corrects the translations of the primary Chinese and Japanese records. It addresses inconsistencies in the historical accounts.
    • Stephenson, F. R., & Green, D. A. (2002). Historical Supernovae and their Remnants. Oxford University Press. Described as a “thoroughgoing and authoritative study” of the East Asian records. It provides a comprehensive analysis of the historical data.
    • Treccani Encyclopedia, “La scienza in Cina: l’epoca Song-yuan. l’astronomia.” An Italian encyclopedia entry that provides a clear, concise summary of the astronomical activities during the Song dynasty, including the creation of the Huangyou armillary sphere and Yang Weide’s observation.

    The translated sources provide a solid, well-referenced foundation for research. It clearly separates the observational facts (dates, brightness, duration) from the institutional context (who observed, with what, and how the records were managed). The key sources are the official Song histories, the administrative Song Huiyao, and the critical modern scholarship that has analyzed these records.

    Primary & Academic Reference Directory

    • Chinese Text Project (ctext.org) – Digital repository hosting the fully transcribed Classical Chinese manuscripts of the Song Shi (Astronomical Treatises) and the Wujing Zongyao.
    • Beijing Ancient Observatory National Museum – Official institutional repository outlining the architectural timeline of the observatory and Ferdinand Verbiest’s original 1673 bronze Tychonic instruments.
    • The Royal Danish Library: Tycho Brahe Digital Archive – High-resolution digitizations of Tycho’s 1598 treatise Astronomiae Instauratae Mechanica, containing the exact instrument layouts adapted by the Beijing Jesuit Bureau.

    2. Visual Observation Report: Crab Nebula (M1/SN 1054)

    The Crab Nebula, is a supernova remnant observed by Chinese astronomers in 1054 AD. and pulsar wind nebula located in the constellation Taurus.
    I was interested in the blue and turquoise colors primarily from the high-energy synchrotron radiation produced by accelerated electrons spiraling around magnetic field lines. However, I have only two Lights. The rest out of 3 sessions was jittery, so the turquoise seems a little bit too noisy and faint.

    At the heart of the Crab Nebula lies a rapidly rotating neutron star, known as a pulsar, which emits beams of radiation that are observed as periodic pulses. The intense magnetic fields of the pulsar generate powerful winds that interact with the surrounding material, creating the vibrant and dynamic features and enigmatic colors observed in the nebula

    3. Spectroscopy Report: Crab Nebula (M1/SN 1054)

    The 1999 Collins–Clube–Napier re-analysis and the 2025 re-evaluation by the MNRAS team both argue the records are internally consistent with a Type II event, but they leave the subtype open: II-P (plateau) is the conventional candidate, while IIn-P — a sub-energetic, pulsar-driven explosion — was an attractive alternative if the high historical luminosity is taken at face value.

    3.1. The Sub Type debate

    SN 1054

    The debate shifted heavily toward consensus in 2021 when astronomers discovered SN 2018zd, a real-time supernova that perfectly exhibited all six predicted criteria for an electron-capture supernova. Crucially, SN 2018zd’s brightness was enhanced by the exact same circumstellar shock interaction. Instead of treating the pulsar engine and the circumstellar material (CSM) interaction as competing alternative theories, the leading consensus uses a two-phase framework to perfectly explain the historical logs of SN 1054.
    The violent, immediate collision of phase I acted as a massive kinetic amplifier. Instead of starting faint and slowly ramping up over weeks, the shock wave slammed into the gas like a high-speed train hitting a wall, converting kinetic energy into blinding visual light almost instantly. This immediate conversion explains why the supernova suddenly appeared out of nowhere as a brilliant “guest star” on July 4, 1054. It was so intense right from the start that Song Dynasty astronomers recorded it as being visible in broad daylight immediately upon discovery

    In 2021, a team led by Daichi Hiramatsu analyzed SN 2018zd and laid out six strict theoretical rules that a supernova must satisfy to be declared a true electron-capture event. It is the only supernova ever caught in real-time that checked every single box: 

    • 1. A Super-AGB Progenitor Star: Pre-explosion images from the Hubble Space Telescope showed a highly evolved, bloated giant star with an internal core composed of oxygen, neon, and magnesium instead of iron.
    • 2. Extreme Pre-Supernova Mass Loss: The star cast off a massive, dense shroud of gas just before dying. 
    • 3. Unusual Stellar Chemical Spectrum: The surrounding gas showed a highly specific mix of helium, carbon, and nitrogen, matching an older star’s outer layers. 
    • 4. A Weak Explosion Energy: The actual kinetic punch of the blast was significantly lower than standard iron core-collapse supernovae.
    • 5. Very Little Radioactivity: The explosion forged almost zero radioactive nickel (56Ni), which typically keeps normal supernovae glowing for months. 
    • 6. A Neutron-Rich Core: The intense gravitational pressure forcing electrons into the atomic nuclei left behind an unusually dense, neutron-rich core remnant.

    After some work I got a clean, physically meaningful synchrotron + emission-line spectrum of the Crab out of an SA100 in a converging beam, with a calibration that lands [O I] on 6300.30 exactly, and a continuum reduction that preserves the [O I] doublet ratio.

    The discussed combination of two alternatives connects the historical SN 1054 to the modern Crab Nebula, with a focus on spectroscopy.

    3.2. Introduction

    The historical records of SN 1054 describe a “guest star” visible in daylight for 23 days and at night for approximately 650 days. Modern observations of the Crab Nebula, however, reveal a remnant with unusually low kinetic energy, creating a long-standing puzzle. This report examines whether the spectral evolution of a supernova like SN 2018zd, which exhibited strong circumstellar material (CSM) interaction, can provide a defensible match to the historical accounts of intensity and duration. The analysis is framed within the two-phase framework you proposed, where an initial CSM blast is followed by sustained pulsar energy injection.

    3.3. The Two-Phase Framework

    The two-phase framework reconciles the high historical luminosity with the low-energy remnant by invoking two distinct power sources.

    Phase I: The CSM Blast (Immediate Kinetic Amplifier)
    The progenitor star shed a massive shell of circumstellar material (CSM) shortly before core collapse. For SN 2018zd, this shell had a mass of 0.18 M☉ and was located at a radius of ~2000 R☉. The supernova shock wave slammed into this dense shell, converting kinetic energy into a brilliant flash of light. This interaction is the mechanism that produces the high peak luminosity.

    Phase II: The Pulsar Sustain (Long-Term Energy Injection)
    As the shock cleared the CSM, the newly born Crab pulsar became the dominant power source. Its spin-down luminosity of ~5 × 10³⁸ erg s⁻¹ provides a continuous energy supply. This can sustain the nebula’s luminosity for hundreds of days, explaining the extended nighttime visibility.

    3.4. Spectral Evolution and Intensity

    The spectral evolution provides a direct physical probe of these two phases.

    Early Phase (Shock Breakout and CSM Interaction)
    The onset of the explosion is marked by a shock breakout through the dense CSM. This creates a rapid rise to peak brightness and a high-luminosity plateau. The spectra at this stage are characterized by broad emission lines from the rapidly expanding ejecta, with velocities of ~10,000 km/s. The Hα line is particularly strong, and the continuum is hot and blue. This phase is responsible for the daylight visibility.

    Late Phase (Nebular and Pulsar-Powered)
    As the ejecta expand and cool, the spectrum transitions to a nebular phase. The continuum weakens, and forbidden emission lines of [O I], [O III], [Ca II], and [S II] dominate. The Hα line remains strong, but its width narrows as the expansion slows. This is the phase where the pulsar’s energy injection becomes critical. The spin-down power ionizes and heats the surrounding filaments, sustaining the emission. This prolonged energy injection is what allows the supernova to remain visible at night for ~650 days.

    3,5. Comparison with Historical Accounts

    The historical accounts of SN 1054 describe an object that was “like Venus” in brightness and visible in daylight for 23 days, followed by a long, slow decline. The two-phase framework provides a defensible match to these observations.

    Historical ObservationTwo-Phase Framework Explanation
    Visible in daylight for 23 daysPhase I (CSM Blast): The shock breakout and subsequent CSM interaction produce a high peak luminosity (absolute magnitude ~ -18), making the supernova bright enough to be seen in daylight.
    Visible at night for ~650 daysPhase II (Pulsar Sustain): After the initial blast, the Crab pulsar’s spin-down luminosity (~5 × 10³⁸ erg/s) continues to inject energy, powering the nebular emission and keeping the remnant visible for nearly two years.
    “Like Venus” at peakThe peak luminosity from CSM interaction can reach ~10⁴⁴ erg/s, comparable to the luminosity of Venus in the sky.

    The spectral evolution from broad, hot continuum-dominated to narrow, line-dominated provides a physical timeline that aligns with the historical timeline of 23 days of daylight visibility followed by 650 days of nighttime visibility.

    The spectral evolution of a supernova with strong CSM interaction provides a defensible and physically grounded explanation for the historical accounts of SN 1054. The two-phase framework—an initial CSM blast (Phase I) followed by pulsar sustain (Phase II)—can account for both the high peak luminosity (daylight visibility) and the extended duration (nighttime visibility). While the exact core-collapse mechanism (ECSN vs. low-mass Fe CCSN) remains an open question, the CSM interaction and pulsar energy injection are the critical mechanisms that explain the historical intensity and duration. The use of SN 2018zd as a template is valid, as it provides an empirical example of the CSM interaction phase that is essential for explaining the historical light curve.

    3.6. 2026 low-resolution spectrum and the low resolution spectrum add value

    :It is a valid scientific observation: It provides a modern, integrated spectrum that can be compared with historical data and the latest high-resolution results.

    • It contributes to a long-term monitoring effort: Your data point helps track the evolution of the synchrotron continuum, which is a key diagnostic of the pulsar’s energy output.
    • It has pedagogical value: In the context of our discussion, it serves as a practical example of the kind of observational data that complements more complex, spatially-resolved studies.

    While it cannot resolve the fine structure that the 2026 SITELLE and HST studies achieve, your spectrum is a legitimate and useful piece of the broader scientific picture. It is a modern, integrated benchmark for a remnant that continues to reveal new secrets.

    3.5.1. The SLOOH 2026 Low-Resolution Spectrum

    The final state of the reduction is:

    Limit: 13.58 Å/sample — a hardware ceiling, not a processing oneI tried to squeeze out all the physically meaningful information an SA100 can deliver on M1 at 13.58 Å/sample:

    Calibration: 2-point linear fit, anchored on Hβ and [O I] 6300

    Continuum: masked Savitzky–Golay, window 51, polyorder 2, line windows excluded

    Output: M1_continuum_subtracted.dat (RSpec)

    • 2-point calibration → intercept and slope both correct
    • Masked continuum → lines extracted without model bias
    • Blending → correctly identified and accepted as a resolution limit

    The residual nonlinearity of the SA100 is real, but it’s smaller than your measurement uncertainty, so I decided modeling it further is fitting noise. The reduction is done. What’s left is the spectrum itself.

    Because the Crab Nebula (SN 1054) shares almost all of these traits (low energy, a low-nickel yield, and a highly active pulsar core), the match with SN 2018zd heavily reinforced the consensus that the Crab was born from an electron-capture event.

    My spectrum serves two primary purposes:

    1. A Contemporary Integrated Reference: Your spectrum captures the total, integrated light of the nebula. This is useful for comparing against the many spatially-resolved studies (which look at specific filaments or regions) and for tracking the nebula’s overall evolution. The integrated optical spectrum is a well-established tool, with research specifically focused on evidence for its fading synchrotron continuum. Your single observation becomes a modern data point in that long-term monitoring effort.
    2. A Practical Monitor for the Synchrotron Continuum: Your spectrum is well-suited for tracking the nebula’s synchrotron continuum, which is the key to understanding the pulsar’s energy injection. Recent high-resolution work has focused on this component. For example, the 2026 HST/WFC3 study used specific continuum band filters (F547M and F763M) to study the optical synchrotron nebula. Your low-resolution spectrum, which likely has a moderate signal-to-noise ratio across a wide wavelength range, can provide a complementary, integrated measure of the continuum level and its spectral index, helping to confirm if the fading trend continues.

    3.6.2. The High-Resolution Context: What Recent 2026 Studies Have Found

    The current state of the art involves high-resolution, spatially-resolved spectroscopy, which reveals details that an integrated spectrum cannot. Several major 2026 studies highlight this:

    SN1054 cirtual
    • 3D Kinematic Reconstruction (SITELLE/CFHT): A 2026 study used the SITELLE imaging Fourier transform spectrometer to create 3D kinematic reconstructions. Their data cubes span 3600–7000 Å and cover major emission lines including [O II], Hβ, [O III], [N II], He I, [S II], and Hα. This work resolved a cavity at the base of the northern “jet” and established a direct physical connection between the filamentary network and the jet funnel, linking it to the early pulsar wind nebula’s formation.
    • Search for the Forward Shock (SITELLE/CFHT): Another 2026 study using SITELLE conducted a deep search for the long-sought forward shock of the supernova remnant by targeting the coronal line [Fe XIV] λ5303. They found no statistically significant emission, placing the deepest large-area optical constraint on this feature. This result is consistent with the forward shock expanding into a very low-density medium or being too weak to detect.
    • HST/WFC3 Revisit: A 2026 HST Cycle 31 program re-observed the Crab with the Wide Field Camera 3. This study used narrowband filters (F487N for Hβ and continuum filters F547M/F763M) to compare the fine-scale structure with the 1999-2000 WFPC2 mosaic. It also identified two previously unrecognized groupings of filaments with similar emission characteristics.
    • JWST Nucleosynthetic Constraints: The pivotal 2024 JWST study (which we discussed) used MIRI/MRS spectra to probe specific ejecta filaments. It derived a Ni/Fe abundance ratio 3–8 times solar, concluding the observational properties are most consistent with a low-mass iron-core-collapse supernova, though an electron-capture explosion cannot be ruled out.

    3.7. Composite evolution spectra

    I use the consensus in 2021 (besides some dissent recently from JWST) after astronomers discovered SN 2018zd, a real-time supernova that perfectly exhibited all six predicted criteria for an electron-capture supernova. Crucially, SN 2018zd’s brightness was enhanced by the exact same circumstellar shock interaction. Instead of treating the pulsar engine and the circumstellar material (CSM) interaction as competing alternative theories, the leading consensus uses a two-phase framework to perfectly explain the historical logs of SN 1054. So I transferred a few SN 2018zd of 2018 and 2024 in the file to the evolution spectra starting with the low resolution SLOOH spectrum.

    3.8. Alternative Sub-Types

    There is of course a crucial point. The uncertainty in the explosion date—”Day 0″—is usually a fundamental parameter that directly impacts the subtype debate. The difference between the date of the explosion and the date of first observation is normally a decisive factor.

    Normally core of the issue is that the historical records, while detailed, don’t give us a precise “Day 0.” However as the observations were permanent and institutionalized and SN 1054 was very bright, the only reason for this is that the supernova’s position in the sky may have been too close to the Sun for observation for some time. That can be checked.

    This uncertainty in the explosion date acts as a systematic error that changes how we interpret the light curve and, by extension, affects the classification. But there is a core observable problem: the Mismatch of Luminosity and Energy

    The central puzzle of SN 1054 is a stark contradiction between what the historical light curve tells us and what the modern remnant shows.

    • The Historical Record (High Luminosity): The Chinese and Japanese records indicate SN 1054 was visible in daylight for about 23 days, implying it was an intrinsically very luminous event (peak absolute magnitude of at least -18).
    • The Modern Remnant (Low Energy): The Crab Nebula itself has a low kinetic energy (around 10^50 erg), about an order of magnitude less than a typical core-collapse supernova. It also has a very low mass of ejected ^56Ni (0.007-0.02 solar masses), which is the primary power source for most supernova light curves.

    This contradiction is the engine of the entire subtype debate. The explosion date uncertainty makes it harder to resolve.

    3.7.1. Alternatives in the the Subtype Debate

    • The Two-Phase Framework is currently the Consensus: The two-phase framework is indeed the standard explanation for SN 1054. The core idea is that the supernova’s luminosity was not powered by radioactive decay (like a standard Type II-P) but by the shock interaction with a dense shell of circumstellar material (CSM). This framework reconciles the historical record of a very bright event with the modern observation of a low-energy remnant.
    • SN 2018zd as a Template for Phase II: The interaction with CSM is the mechanism that produces the bright, luminous peak. Observations of SN 2018zd directly support this. The study found that a massive stellar wind created a CSM shell of about 0.18 solar masses around the progenitor. The supernova’s ejecta then slammed into this shell, and this interaction accounts for the luminous peak of the light curve. This is the “kinetic amplifier” in action.
    • The Core-Collapse Mechanism Remains an Open Question: It is crucial to distinguish the light-curve framework from the core-collapse mechanism. The 2024 JWST study, found that the Crab’s Ni/Fe ratio is most consistent with a low-mass iron-core-collapse supernova, though an electron-capture explosion cannot be ruled out. This means that while the CSM interaction (Phase II) is well-supported by evidence like SN 2018zd, the exact nature of the initial core collapse (Phase I) is still an active area of research Kinematics tell you how fast they are still moving; and the line widths tell you the velocity distribution. A synthetic spectrum that ties Δλ to v/cv/c is therefore a direct, if crude, link between the Song-era sighting and the JWST image.

    Type II-P (The former Standard Model)

    • How it Works: A standard Type II-P supernova is powered by the radioactive decay of ^56Ni. To reach the observed high luminosity, it would need to have produced a large amount of ^56Ni. However, this would also produce a long, luminous tail that is not observed in the historical light curve.
    • Effect of Date Uncertainty: This is where the uncertainty is most damaging. The lack of a clear, unambiguous date for the explosion makes it difficult to determine the exact shape of the light curve’s tail. An earlier explosion date would imply an even steeper decline, making it even harder for a standard II-P model to explain the data without invoking an unusual mechanism.
    • Current Status: While a 2024 analysis found the light curve could resemble that of SN 2004dj (a Type II-P), it also concluded the progenitor mass derived from this fit is inconsistent with the mass inferred from the remnant. This tension is a major weakness for the standard II-P scenario.

    3.7.2 Type IIn-P (The CSM Interaction Model) alone

    • How it Works: This model, championed by Nathan Smith, proposes the luminosity was not powered by radioactivity but by the shock interacting with dense circumstellar material (CSM). This allows for a high luminosity even with low explosion energy and low ^56Ni production.
    • Effect of Date Uncertainty: This model is largely insensitive to the date uncertainty. The key features it explains are the “Type IIn-like” spectra (from the CSM interaction) and a plateau-like light curve, which can be produced regardless of a few weeks’ offset in the start date. It neatly resolves the core contradiction by providing an alternative power source.
    • Current Status: This is a very strong and attractive alternative. It can naturally explain the high luminosity, the low energy, and the low ^56Ni mass simultaneously. It makes a testable prediction that any light echoes from SN 1054 should show a Type IIn spectrum.

    3.7.3. Pulsar-Driven Model (The Central Engine Model) alone

    • How it Works: This 2024 model proposes that the light curve was powered by the spin-down of the nascent, highly magnetized Crab pulsar. A model with an initial spin period of ~14 ms and a strong magnetic field can reproduce the observed luminosity and velocity of SN 1054.
    • Effect of Date Uncertainty: Like the IIn-P model, this scenario is also fairly robust against the date uncertainty. It provides a completely different power source that can account for the late-time luminosity, which is a known problem for radioactive decay models. The date offset mainly affects the fine-tuning of the pulsar’s initial parameters, not the overall viability of the model.
    • Current Status: This is a modern, compelling hypothesis that ties the supernova directly to the observed properties of the Crab Pulsar. It explains the late-time light curve elegantly.

    The uncertainty in the explosion date does not invalidate the debate, but it acts as a significant systematic error that weakens the case for a standard Type II-P model while leaving the IIn-P and pulsar-driven models largely intact.

    • For Type II-P: The uncertainty makes it harder to fit a standard radioactive decay model to the light curve and resolve the luminosity-energy contradiction.
    • For Type IIn-P & Pulsar-Driven: These models are less sensitive to the exact date, as they rely on power sources (CSM interaction or a central engine) that can produce the observed luminosity independent of the initial ^56Ni yield.

    4. Radio Observation of Crab Nebula NGC 1952 pulsar syncroton continuum

    The physical mechanics connecting these three components operate as a highly interconnected system:

    4.1. The Power Source: The Crab Pulsar

    At the absolute center of NGC 1952 lies the Crab Pulsar, a rapidly spinning neutron star that is the collapsed core of the SN 1054 supernova explosion.

    • It rotates roughly 30 times per second (a period of ~33 milliseconds).
    • As it rotates, its immense magnetic field generates a highly relativistic “pulsar wind” composed of electrons and positrons accelerated to near the speed of light.
    • The pulsar is gradually slowing down by about 38 nanoseconds per day. This rotational energy loss (spin-down luminosity) is what actively injects energy into the surrounding space.

    4.2. The Mechanism: Synchrotron Radiation

    As the relativistic pulsar wind streams outward, it slams into the slower-moving supernova ejecta, creating a termination shock.

    • At this shock front, the energetic electrons and positrons are accelerated even further.
    • When these ultra-fast charged particles are forced to spiral around the nebula’s magnetic field lines, they emit Synchrotron Radiation.
    • Because this radiation depends on particle velocity and magnetic field strength rather than thermal temperature, it does not produce a neat set of elements’ signatures (like a hot gas cloud does). Instead, it generates a continuous smear of light.

    4.3. The Visual: The Non-Thermal Continuum

    In multi-wavelength images of the Crab Nebula, there is a stark visual distinction between its two main structures:

    • The Filaments: A complex web of orange and red threads composed of ionized gas (oxygen, sulfur, hydrogen) that emit specific spectral lines.
    • The Continuum Blue Glow: A ghostly, diffuse, interior pool of blue light. This is the synchrotron continuum. It is completely continuous (non-thermal) and strongly polarized.

    While we see the synchrotron continuum as a distinct blue glow in optical light, this continuous power-law emission actually spans the entire spectrum—stretching unbroken from low-energy radio waves, through infrared and optical, up into highly energetic X-rays and gamma rays.

    Table of Contents

  • The universe as aesthetic experience – Jung’s  “archetype of the storm” 

    The universe as aesthetic experience – Jung’s “archetype of the storm” 

    A Jungian view of my astrophotography ‘The Veil Nebula‘, the universe interpreted though Maxim Gorky’s famous poem and the philosopher Kant. Immanuel Kant saw the universe as a profound source of aesthetic experience, especially through the concept of the sublime—like the infinite universe or a violent storm— which he distinguished from beauty.

    Beauty reflects harmony between imagination and understanding, while the sublime emerges when we face something so vast or powerful that our imagination is overwhelmed.

    This dynamic is vividly echoed in art and literature: Van Gogh’s Starry Night and the spiral grandeur of Messier 51 mirror the mathematical sublime ( Van Gogh was likely inspired by the nebula M51 from a best-selling book on French astronomy); while Maxim Gorky’s The Song of the Stormy Petrel and the ghostly filaments of NGC 6960 capture the dynamical sublime—the majesty and terror of nature’s force, met by human mind’s resilient and fierce response.

    The Cry Before the Storm: The Veil Nebula

    “Let it break in all its fury —
    Let the storm burst forth!”
    — Maxim Gorky, Song of the Stormy Petrel (1901)

    Nowhere is this fusion of the outer storm and inner cry more visceral than in the luminous wreckage of a supernova shell catalogued as NGC 6960: the Veil Nebula West (the right third of my full Veil Nebula mosaic).

    UNIVERSE

    The Mosaic

    This 2.92° × 2.05° mosaic spans the luminous filaments of the Veil Nebula, the visible remains of a massive supernova in Cygnus, exploding 10,000–20,000 years ago. At the western edge lies NGC 6960, the so-called “Sturmvogel”—a nickname (storm bird, stormy petrel) popularized in early astrophotographic work by Max Wolf (1863–1932) at the Heidelberg Observatory. The filaments likely evoked the bird’s wings riding a cosmic storm. Just to the north (rotated east) lies Pickering’s Triangle, a chaotic sea of shock fronts, while the eastern arc comprises NGC 6992, NGC 6995, IC 1340, and NGC 6974. Together, they form the bright perimeter of the Cygnus Loop, a vast supernova remnant stretching across 3 degrees of sky.


    The imago

    This widefield mosaic reveals the Veil Nebula, the torn and glowing remains of a massive star that exploded between 10,000 and 20,000 years ago in the constellation Cygnus. The image covers the most prominent filaments of the Cygnus Loop, a supernova remnant still expanding into the interstellar medium. The progenitor star is estimated to have been 20 times more massive than the Sun, and its explosion may have rivaled Venus in brightness, even visible in daylight to early humans.

    The nebula is powered by shock fronts—high-velocity shells of ionized gas colliding with the surrounding medium, lighting up filaments rich in oxygen (O III), hydrogen (Hα), and sulfur (S II). These glowing arcs are what we now see as NGC 6960 in the West, Pickering’s Triangle, and the complex Eastern tangle of NGC 6992, NGC 6995, IC 1340, NGC 6974, and NGC 6979.

    The western portion, NGC 6960, became known in early 20th-century German literature as the “Sturmvogel”—a storm bird or stormy petrel. Though the origin of the name is uncertain, it was Max Wolf, the Heidelberg astronomer and pioneer of astrophotography, who brought the term into the astronomical community through his deep-sky survey plates and publications. His 1900s-era astrographs, taken with large plate cameras, helped to popularize poetic imagery and inspired the mapping of thousands of nebulae—Wolf’s catalogs eventually included over 6,000 entries.

    The “Sturmvogel” metaphor is more than lyrical. If the image is rotated 90° counterclockwise from north-up (placing east at top), the filaments of NGC 6960 unfurl like a bird in flight, its wings flaring through the turbulent ether of the surrounding shockwaves. Just “beneath” it in this orientation lies Pickering’s Triangle—a chaotic lattice of luminous threads, often overlooked but physically adjacent to NGC 6960. This region resembles a choppy, foaming sea, as though the bird skims low over stormy cosmic surf.

    The eastern arc, comprising NGC 6992, NGC 6995, IC 1340, and nearby filaments, forms the other wing of the explosion’s outer shell. Together, these bright edges trace a nearly complete hemispherical shell roughly 130 light-years across, expanding at speeds between 150 and 600 km/s. The gas within glows for tens of thousands of years after the explosion, allowing us to see this dramatic transformation in slow motion.

    Though shaped by physics, the Veil Nebula also invites metaphor and archetype. In its wisps we glimpse not just shockwaves, but stories: death and rebirth, flight and disintegration, solitude and cosmic defiance. This Sturmvogel, like Gorky’s revolutionary storm petrel, does not fear the coming storm—it becomes its herald. Turn it. Rotate the image 90° counterclockwise—place North to the left, and East to the sky.

    The poem

    Maxim Gorky’s 1901 poem, The Song of the Stormy Petrel, (in the English Translation) was written as the czarist state trembled with revolution. It was, at once, a coded call to rebellion and a hymn to those rare spirits who thrive in the coming chaos. While lesser birds cower in fear — gulls, loons, and penguins scuttling to shelter — the stormy petrel soars, shrieking, a “black lightning bolt” against the leaden clouds.

    “The clouds are darkening the sky,
    The waves groan beneath them.
    The storm! The storm is coming soon!”

    Der Originaltitel von Maxim Gorkis poem “Das Lied vom Sturmvogel” ist „Песня о Буревестнике“ (Pesnja o Burevestnike).  A special stamp was dedicated by the communist GDR post office to Gorky’s “Sturmvogel” in 1968. The stormy petrel—Sturmvogel—shrieking in the dark heavens above a choppy, silvery sea.

    Here, in the Veil Nebula, we see that storm brewing—in literal astrophysical terms.

    To call the nebula Sturmvogel—as German astronomer Max Wolf did in the early 20th century—is to see more than a name. Dr. Wolf often assigned names inspired by myth, animal shapes, and poetic metaphor.

    Beneath the arc—now the “sky” of this rotated scene—lies a tangled field of mist and filament. These lower tendrils correspond to the chaotic region extending toward the Pickering Triangle, itself a fragment of the same blast. But in this orientation, it becomes the silver sea—choppy, dispersed, alive with current.

    “The sea, with lightning crashing down on it,
    Holds the thunder in its depths.”

    The psychological dimension is impossible to ignore. To rotate this nebula is to awaken its archetypal charge.

    Toward the Storm, Toward the Self

    In standard orientations, it is just beautiful. Rotated — it becomes prophetic or as Kant said sublime. Just as Gorky’s poem was banned, feared, and venerated, this image speaks of thresholds — the point where silence ends and scream begins.

    To witness the Veil Nebula as Sturmvogel is to stand at the edge of a cosmic battlefield. A soul cries out — not in despair, but in jubilation. It is ready. It does not retreat. The stars themselves have torn open,. and from their shreds, a winged cry rises.

    The night is not quiet.
    The storm is not tragedy.
    The nebula is not death.
    It is all a prelude to flight.

    In Jungian psychology, the “archetype of the storm” can be understood through several interconnected lenses, encompassing divine power, emotional turmoil, the force of chaos, and the potential for transformation and judgment. It is not a singular, codified archetype but rather a multifaceted symbol that manifests in various ways within the collective unconscious and individual psyche, often associated with deities like Zeus and Odin (Wotan). 

    Key Aspects of the Storm Archetype in Jungian thought:

    • Divine Power and Judgment: Storms, particularly those involving thunder and lightning, are often associated with powerful sky gods like Zeus and Odin. These deities are seen as masters of spiritual phenomena and embody divine justice and judgment, capable of both creation and destruction. The storm can symbolize divine intervention or the manifestation of a higher power.
    • Emotional Turmoil and Internal States: On a personal level, storms can represent powerful and overwhelming emotions, internal struggles, and psychological crises. The “eye of the storm” can symbolize the need for centering and navigating these internal tempests towards clarity and resilience. This can be seen in dream symbolism, where storms may signify repressed emotions or significant life changes.
    • Chaos and Disorder: The storm can also embody the archetype of chaos and the destructive forces of the unconscious, as seen in mythological figures like Typhon, the Greek monster of chaotic destruction. It represents the unsettling and unpredictable aspects of life and the psyche, often linked to a struggle for consciousness against overwhelming forces.
    • Transformation and New Beginnings: Despite their destructive potential, storms can also be seen as catalysts for profound change and renewal. Emerging from the turmoil of a storm can lead to a new paradigm, a resetting of paths, and a transformation in consciousness, akin to a “new beginning” or the emergence of a new understanding.
    • The “Wotan” Archetype: Carl Jung specifically explored the “Wotan” (Odin) archetype as a powerful, dormant force within the Germanic psyche that reawakened with terrifying force, linking it to the “storm clouds” gathering over Europe in his time. This highlights how archetypal patterns can manifest in historical and collective contexts, influencing societal movements and psychological states. 

    “Let the storm burst forth—
    The proud stormy petrel soars,
    Like a black lightning bolt…”

    The Veil Nebula is not the remnant of death but literally rebirth, transformation or revolution.
    We are all stardust.

    The first stars burned their fuel quickly and were able to make only a few elements heavier than hydrogen and helium. When those stars went supernova, they expelled the elements they had produced and seeded the next generation of stars.

    Back to Kant, reason steps in to conceive the universe’s magnitude, producing a unique aesthetic response that combines awe, respect, and an awareness of both human limitation and rational capacity.

    • Mathematical Sublime: Arises when we confront immense size—like the vast universe—that imagination cannot grasp, but reason can conceptualize as infinite.
    • Dynamical Sublime: Emerges in the face of overwhelming natural power, such as storms, evoking fear yet affirming reason’s ability to comprehend from a safe vantage.
    • Aesthetic Judgment: Kant held that judgments of the sublime, though rooted in feeling, carry a claim to universal validity, expecting shared recognition.
    • Transcendental Aesthetic: Refers to Kant’s idea that space and time are forms imposed by the mind, shaping how we perceive the universe from the outset.

    1. Stormy Petrel in Flight

    l
    • Visual feature: The filamentary arc, sharply defined and curving like a wing, cutting diagonally across the lower right (now “south”) quadrant.
    • Interpretation: The stormy petrel itself — sharp-beaked, wing extended mid-cry.
    • Poetic line: “High above the silvery sea wind / Screeches the stormy petrel, / A black lightning bolt…”
    • Science: This structure is a shock front — compressed, illuminated gas being shaped like wind-sculpted feathers.
    • The rift in the emission line appears as wings opened wide against wind — almost tearing through the stars.

    2. Choppy, Silver Sea Below

    • Visual feature: The fragmented, turbulent lower-left tendrils of nebulosity, dispersed and broken up.
    • Interpretation: This is the sea whipped by storm — erratic, fragmented lines resembling waves crashing.
    • Poetic line: “The sea — under the storm’s assault — / Holds the thunder in its depths…”
    • The Veil’s wispy structure renders a heaving, unsettled ‘sea’ of starlight, luminous and restless.

    3. Darkness and Thunderclouds

    • Visual feature: Opaque, darker patches and intersections between arcs of light — spaces of visual silence.
    • Interpretation: These become thunderclouds — the pressure between light and void, mirroring psychological tension.
    • Poetic line: “The storm! The storm will break soon! / The bold petrel flies proudly in the lightning.”
    • The bright-limb–dark-core contrast functions almost as chiaroscuro — a painterly invocation of rolling storm clouds.

    4. Lightning and Cry

    • Visual feature: Sharp, high-contrast transitions and electric blue Hβ or OIII filaments, especially if narrowband data is used.
    • Interpretation: Lightning across the sky — like the scream of the petrel, jagged and divine.
    • Poetic line: “The storm — it is coming! / Let it burst in all its fury!”
    • The emission filaments serve as luminous nerve endings of the storm — prophetic and electric.

    WHY THIS ROTATION MATTERS

    Most published astrophotographs of NGC 6960 orient North up or East left — creating a sweeping horizontal arc that reads more like a curtain or a wave. But when North is turned left:

    • The arc becomes a soaring, vertical figure — winged, crying, slicing through the heavens.
    • The Veil becomes a storm landscape, not a peaceful emission cloud.
    • The entire field becomes psychologically activated: no longer passive beauty, but visionary unrest.

    This is what Max Wolf may have seen — not just a nebula, but a cosmic Sturmvogel singing against the void.


    PSYCHOANALYTIC PARALLEL

    The Veil Nebula, when viewed this way, externalizes an internal or external psychological structure:

    • The stormy petrel = archetype of the prophetic Self or Hero archetype, unafraid to confront chaos.
    • The storm = collective upheaval, unconscious energies breaking into consciousness.
    • The sea = psychic depths — turbulent but luminous, full of potential.
    • The Veil itself = the psychic boundary between known and unknown, being torn open.

    In this light, your astrophotography of the Veil is not just scientific image-making, but active imagination — to Jung a lens into cosmic individuation or as to Gorky to a historical revolution.

    1901 Poem by Maxim Gorky “Song of the Petrel” Google translation from Russian https://ruverses.com/

    Over the gray plain of the sea the wind gathers clouds. Between the clouds and the sea the Petrel proudly flies, like black lightning.
    Now touching the waves with its wing, now soaring like an arrow to the clouds, it cries, and — the clouds hear joy in the bird’s bold cry.
    In this cry — thirst for a storm! The clouds hear the power of anger, the flame of passion and confidence in victory in this cry.
    The seagulls moan before the storm — moan, rush about above the sea and are ready to hide their horror before the storm at the bottom.
    And the loons also moan — they, the loons, do not have access to the enjoyment of the battle of life: the thunder of blows frightens them.
    The stupid penguin timidly hides his fat body in the cliffs… Only the proud Petrel flies boldly and freely above the sea gray with foam!
    The clouds are sinking darker and lower over the sea, and the waves are singing, and rushing upward to meet the thunder.
    The thunder is roaring. The waves are moaning in the foam of anger, arguing with the wind. Now the wind embraces the flocks of waves with a strong embrace and throws them with all its might in wild anger onto the cliffs, smashing the emerald masses into dust and spray.
    The petrel flies with a cry, like a black lightning, pierces the clouds like an arrow, tears off the foam of the waves with its wing.
    Here it flies like a demon, – a proud, black demon of the storm, – and laughs and sobs… He laughs at the clouds, he sobs with joy!
    In the wrath of thunder, – a sensitive demon, – he has long heard fatigue, he is sure that the clouds will not hide the sun, – no, they will not hide!
    The wind howls… The thunder roars…

    The flocks of clouds blaze with a blue flame over the abyss of the sea. The sea catches the arrows of lightning and extinguishes them in its depths. Like fiery snakes, the reflections of these lightnings curl in the sea, disappearing.
    Storm! The storm will soon break out!

    This is the brave Petrel proudly fluttering between the lightning over the angrily roaring sea; then the prophet of victory cries out:
    Let the storm break out stronger!

    Maxim Gorki Das Lied vom Sturmvogel

    Ob der grauen Meeresebene schart der Wind Gewölk zusammen.
    Zwischen Wolken und Gewässern gleitet stolz der Sturmverkünder,
    einem schwarzen Blitz vergleichbar.
    Bald die Flut mit Flügeln streifend, bald als Pfeil die Wolken treffend,
    schreit er hell.
    Die Wolken hören Lust im Schrei des kühnen Vogels.
    In dem Schrei klingt Sturmessehnsucht! Kraft des Zornes, Glut der Leidenschaft
    und Siegeszuversicht.
    Dies hören in dem Schrei die Wolken.

    Vor dem Sturm die Möwen stöhnen. —
    Stöhnen, treiben überm Meere,
    möchten ihre Angst vorm Sturme auf dem Meeresgrund verbergen.
    Auch die Tauchervögel stöhnen.
    Ihnen ist er unzugänglich, der Genuss des Lebenskampfel.
    Sie erschrecken vor dem Donner.
    Der Pinguin, der dumme, feige,
    birgt den feisten Leib im Felswerk.
    Nur der stolz Sturmverkünder, frei und stolz,
    beherrscht die Höhe überm grauen Schaum des Meeres!

    II

    Immer finsterer und tiefer zieh‘n die Wolken überm Meere,
    und die Wogen singen, dringen hoch, dem Donner zu begegnen.
    Donner kracht.
    Wutschäumend , ächzend streiten mit dem Wind die Wellen.
    Er umfasst sie rudelweise, drückt sie in die starken Arme.
    Schleudert wuchtig sie in blindem Wüten an die Klippen,
    wo die hell-smaragdnen Wogen-berge
    laut zu Staub und Schaum zerschellen.
    Schreiend schießt der Sturmverkünder, einem schwarzen Blitz gleich,
    pfeilschnell durch die Wolken.
    Seine Flügel reißen Gischt vom Kamm der Wogen.
    Seht, er rast dahin! Ein Dämon — stolz.
    Des Sturmes schwarzer Dämon!
    Und sein Lachen tönt, sein Schluchzen.
    Er verlacht die finstern Wolken, und er weint und schluchzt vor Freude.
    Längst vernimmt des Dämons waches Ohr im Donnergroll: Erschöpfung.
    Das Gewölk, weiß er, es kann nicht, – kann die Sonne nicht verbergen!

    III

    Sturmwind heult — und Donner poltert.
    Überm abgrundtiefen Meere flammen blau die Wolkenschwärme.
    Und das Meer fängt Blitzespfeile, löscht sie aus in seinem Strudel.
    Und wie Feuerschlangen winden sich im Meere — und verschwinden
    Spiegelbilder dieser Blitze.
    „Sturmwind! Bald erdröhnt der Sturmwind!“
    Sehrt den stolzen Sturmverkünder! Stolz hin schwebend zwischen Blitzen,
    überm Zorngebrüll des Meeres, schreit er —
    ein Prophet des Sieges.
    „Immer stärker tobe, Sturmwind!“ 

    Unknown Translation https://ruverses.com/
  • The magic of outstanding pictures – photography for Jungians

    The magic of outstanding pictures – photography for Jungians

    As a photographer, your eye is your lens. Photography for Jungians understand there are more than five senses. This essay gives a basic understanding, why excellent pictures (paintings or  photographs) succeed. After you have started exploring the world with this mindset, you’ll find, that you automatically begin to see things differently.  I derived (better adapted) this photographer framework from the two excellent books by the Swiss photographer Martin Zurmuehle, “The magic of outstanding pictures”.

    In a way this essay is excerpt an my interpretation of Martin Zurmuehle’s two books on this subject. He explores, how  a viewer (or a jury) evaluates the quality of a photograph,and argues successfully, that quality methodology and communication theory can be employed, to plan,  execute and select the best shot objectively. Jung would even argue a point further, there are conscious and unconscious (personal and collective) factors,  which influence the reception of a picture – cultural pattern, like symbols and recent Zeitgeist or deceiving symbols (e.g. propaganda or fashion fads).

    The framework below shows the process. The photographer starts with his/her objective (value statement) and enters the inner or outer circle at any (interdependent) segment:

    • a certain technique is selected, a suitable formal composition chosen  to create a particular effect
    • a motif may trigger an idea, how to achieve a certain reception (from a particular target group)

    For example I choose often a technique – IR photography or am intrigued by a certain motif. Or you start with a target group (in marketing) or the effect and so on. Photography obviously is also concerned with communication – the goal is to communicate something from the photographer to the viewer:

    • Content: facts, motif, subject or object and used communication technique.
    • Sender: photographer’s self , his/her idea, personal style by selected formal aspects.
    • Receiver: desired reception from target viewer within “zeitgeist”  to storyline or emotions.

    Photography teaches us to appreciate our world—visually  at first, but also emotionally—in a whole new way. Actually that article started for my visual blog, but somehow it went on the psychoanalytic side.

    Define the quality of a photo

    Structured Evaluation of Photos
    Structured Evaluation of Photos

    To judge photographs, and to do better ones,it is necessary to develop the skills to make careful visual analysis. While everyone can easily discuss the contents of photographs (“what you see”), most need more training to learn about formal analysis used in the visual arts. Formal analysis focuses on an artwork’s “formal” qualities, or those visual elements that give it form. Formal analysis provides a basic common language in the visual arts. However, a description of a photograph based only on formal analysis would be incomplete. Photographers make many decisions both about composition (arrangement of visual elements) as well as effect (meaning) when taking photographs. Consequently, it is important to consider the artist’s goals for making a photograph of a particular subject. Finally, the  reception (historical and cultural context in which a photograph was made) must also be carefully considered.

    There is no one unique answer when interpreting works of art. Art cannot be measured against a specification, but it can be evaluated in a structured and objective way. It is still  more of a benchmark and must be based on experience. There are several ways to define quality of a photograph beyond personal taste, the latter more often  than not utterly misleading:

    • Intuition Based: Photographer, artist or experienced person just knows;
    • Balanced Score Card: Structured evaluation based on pre-defined criterion (such as a quality system);
    • Model based: Interaction evaluation (effect/impression) on viewer, such as a visual communication paradigm.

    Professional photographers with a trained eye, indeed can judge the quality of a photo within seconds. But so do fools or pseudo-experts, which reflect only the inconsistent view or are slaves to Zeitgeist and marketing. If you are neither, but like me. understand that one must “measure” quality  to get better, read on. Maybe  you also agree with me, that digital photography moves into fine art, with more ambitious quality standards than contemporary art. I am fascinated, how psychoanalytic structures and energy clusters are expressed by digital photography and new way of movie making. That is one of my goals, to express myself this way.

    Objective of Photography for Jungians

    This essay gives a basic understanding, why excellent pictures (paintings or  photographs) succeed. After you have started exploring the world with this mindset, you’ll find, that you automatically begin to see things differently.  I derived (better adapted) this photographer framework from the two excellent books by the Swiss photographer Martin Zurmuehle, “The magic of outstanding pictures”.

    To make myself clear, I am not a professional photographer nor an artist. However, I want to understand, why some pictures move the viewer, fascinate or shock us,  others let us cold and indifferent. Comfortable with a familiar methodology, which I used in consulting in complex business situations, I see a benefit in formulated objectives with qualitative measurable controls and its structured evaluation.

    What do I mean? Like any business or technical endeavor, you start photography with a clear vision and objective, select the right strategy and the  needed resources. To reach the goal of good photo (or painting), we need the right idea,  a suitable motif and a positive reception of the viewer, jury, market. The reception may be, I dare to say,  either a certain group, or some professionals target fashion, hipness or Zeitgeist, sometimes even of the chattering class.

    A nice motif – the subject or dominant theme (e.g. model, landscape) –  may trigger an idea, but still you need to formulate a goal – otherwise may or may not succeed with an accidental good shot. You also need to think of reception, the viewers. In any case, you must have technical skills to handle the digital camera and post-processing. This is considered, more than in fine art nowadays, a pre-requisite and taken for granted in this essay.

    Effect on Receiver

    Trigger emotions

    Ansel Adams  photographer and environmentalist
    Ansel Adams photographer and environmentalist

    A landscape photographer wants to capture the emotional essence of a place and show it to others. Their goal is to inspire people to travel and better  appreciate the world in which we all live by showing them places that they may never have known even existed. That’s the difference between a vacation photo and a landscape one: vacation snaps are mementos; landscape shots are more advertising.

    As a landscape photographer, you need to be aware of two basic concepts: what to look for, and how (and if) to shoot it. Not all great landscapes make a  great photo. You need to search for strong focal points and interesting details, and apply the classic rules of photographic art—natural frames, the rule  of thirds—if you want to create beautiful works out of the world. Ansel Adams was, and is, the leading landscape photographer and also an environmentalist revered for his black-and-white landscape photographs, and his commitment to the conservation of nature. Adams felt an intense commitment to promoting photography as a fine art and his images became the symbols and icons of wild America. I I backpacked lot,  so I embrace his fight for new parks and wilderness areas, for the Wilderness Act, for wild Alaska and the Big Sur coast of central California, for the mighty redwoods, for endangered sea lions and sea otters, and for clean air and water. An advocate of balanced, restrained use of resources, Adams also fought relentlessly against overbuilt highways, billboards, and all manner of environmental mendacity and shortsightedness. Adams was often criticized for failing to include humans or evidence of “humanity” in his landscape photographs. Interestingly, Adams was ready for digital photography he once said “I believe the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them.”

    People of Power - Putin - Platon
    People of Power – Putin – Platon
    Putin Time Cover
    Putin Time Cover Putin 2007

    Portrait photographers are after emotions as well but, they have to go beyond the Persona, the mask.There was once a photo shoot of Russian president  Vladimir Putin,  which later became an infamous icon. When the world leaders at a 2009 United Nations General Assembly meeting, the were intercepted by an enterprising portrait photographer named Platon Antoniou. They could not control the results of his portrait session: in essence, they were at his mercy:  “Every head of state has to address the General Assembly, and there’s a podium where they all stand to make their speeches,” said Platon, the British-Greek. “[For five days], I stood a few feet away from the podium backstage… and since everyone had to pass me on their way to and from the stage, I had two chances to secure a portrait session with each person.” Having one’s portrait taken is an intimate experience. As Shakespeare put it, “the eyes are the window to the soul.” For Platon, it is an intimate collaboration and a visual interview—both in front of and behind the camera. Having photographed world leaders, celebrities, our men and women in the military, civil rights leaders and human rights champions, Platon seeks to answer the question, “Who is this person?” His photographic portraits have graced the world’s most influential magazines including Rolling Stone, The New York Times, Vanity Fair, Esquire, GQ and The Sunday Times.  Platon developed a special relationship with TIME magazine, producing over 25 cover photos.

    Reach for hidden cultural pattern

    Munich in Infrared - City bare of people and cars.
    Munich in Infrared – City bare of people and cars.

    Cityscape photography is, in many ways, a natural counterpart to landscape photography. The same general rules apply: consider skyscrapers as mountains,  roads as rivers and city lights as a lower version of starlight. The best cityscape photographers understand that cities are symbols. That is right, symbols,  Buildings – churches, today banks – are symbols of power, of transcendence and so on. Look at the city paintings of Kirchner, good city photographers also  understand that cities are kind of terrifying: they’re monsters that consume us in violence and loneliness. Cities change at night. A mountain is a mountain any time of day, but by night, they challenge the stars, roads light up with moving dots of red and yellow, neon lights line the streets in  attempts to catch your eye. Visually, cities come alive at night. In cities, there are people. With symbols you refer to an ancient cultural pattern. Left is one of my pictures.  I began experimenting with infrared, or IR, photography (mostly city landscapes). Besides normal photography, I am astro-photographer with a Canon 60Da camera. All I needed was an Hoya ND72 infrared filter.  Infrared photography shares a lot of philosophy with astrophotography – patience, careful planning, accurate execution and  post-processing with Photoshop.  Essentially I went on a bike tour, to discover, how Munich would look, had all people and cars disappeared. How fragile a city is. Formal the road was the line. I wanted to have the  lamp post in the foreground as a symbol of violence. it reminded me on an art construction I saw once in front of castle in Italy.

    nighthawks-hopper
    nighthawks-hopper
    rnst_ludwig_kirchner_street_scene
    rnst_ludwig_kirchner_street_scene

    I am influenced by Edward Hopper and Ludwig Kirchner. One of my favorite is Hopper’s Nighthawks, inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet” . The carefully constructed composition with a narrative of loneliness, has a timeless quality that transcends its particular time and place. The painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Fluorescent lights emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. Reworked and parodied countless times, Nighthawks has become an icon of American culture. Another one is the most talented and influential of Germany’s Expressionists. Motivated by the same anxieties that gripped the movement as a whole – fears about humanity’s place in the modern world, its lost feelings of spirituality and authenticity – Kirchner had conflicting attitudes to the past and present. He was inspired and intimidated by the modern city at the same time. When the Nazis rose to power in the early 1930s he was also a victim of their campaign against “Degenerate Art.” Depressed and ill, he eventually committed suicide in Switzerland. The human figure was central to Kirchner’s art and art symbolizes future and past. Kirchner’s Expressionism opposed the French Impressionism, that was dominant in German painting, Edvard Munch ( another favorite of mine – Symbolistic) was clearly important in shaping his style. Kirchner believed like C.G. Jung, that powerful forces – enlivening yet also destructive – dwelt beneath the veneer of Western civilization, and he believed that exploring the depth of humanity an the richness of cultures offered a means of harnessing them. This outlook shaped the way in which he depicted men and women in his pictures, as people who often seem at war with themselves or their environment. Now, what is art anyway? To me art works are symbolic patterns, which have connotations that are unclear or hidden. They may have interferences with the Zeitgeist and references to the past, both integrated through and with the individual artist’s situation at a given moment. Art, like the symbol has a future in a psychoanalytic sense. To the psychoanalytic C.G. Jung, a symbol is a real instance of a collective or personal archetype from the past. I am too shy to make pictures of people in circumstances. which interest me, but I have many pictures in my mind. Come to think of it, with this blog, I sort and evaluate the many pictures my mind captured during business and private travel…

    Tell a story

     Vietnamese-child depicted in the Pulitzer Prize-winning photograph taken during the Vietnam War on June 8, 1972.
    Vietnamese-child depicted in the Pulitzer Prize-winning photograph taken during the Vietnam War on June 8, 1972.
    Great Depression Picture: A Mother of Seven Children by Dorthea Lange
    Great Depression Picture: A Mother of Seven Children

    Photojournalism, or documentary photography, captures time and place better than any other form of the art. It it’s an extremely demanding form of  photography, possibly the most demanding, because it requires a quick mind, careful attitude and the capability to see and tell a story. Photojournalists  have to understand a wide array of photography and are close to spontaneous street shooters.Street photographers and photojournalists deal with candid  shots, planned or unplanned, spontaneous moments found on public streets or political events. Documentary photos are best when they’re unfiltered, raw and  human. They are cruel, like the picture of left, an iconic photo taken in Trang Bang by AP photographer Nick Ut, but the may change the world. Realist photography is an interesting art form as it doesn’t seek to “create” but rather to document intensity exactly as it is, without embellishment. Dorothea Lange took the above photograph called, “Migrant Mother” which became one of the most iconic photographs documenting the dustbowl era during the Great Depression. Interestingly Lange didn’t go to college (as was more common then) and trained herself in her style of  photography. This emphasis my point you don’t need a formal education to become a huge success at a field you are passionate about. It takes empathy to photograph suffering. Lange had polio and her father deserted her at an early age. Composition of realism is often more powerful than effect, technique and Zeitgeist. If you look closely, the focus of the picture is on the hair of the child, not on the eye of the mother. That is considered as as technical flaw. Did it matter? Not only that, the picture would be powerful today, but would not be taken today. Not in Greece, with an unemployment of 25% nor in Syria, where weapon sales are up. Then the year was 1936. Unemployment was at 18%. The Dow Jones went UP 24% that year. Misery and stocks are often reciprocal correlated. Too often the headlines in the newspaper look the other way misery does not fit the narrative. Dorothy Lange took six pictures of this woman, who is named Florence Owens Thompson, but did not select a picture with all seven because she thought that would actually reduce sympathy people… Judge today’s realistic pictures – the ones, which are not taken and their substitutes.

    Disclosure of Sender – Composition and personal Style

    You may hear the word “composition” a lot when it comes to fine art and music. Composition has its roots in the Latin word “compositio” and refers, simply, to the way you combine the visual elements of your photo and define their relationship. This is the geometrical concept in the image, whether an object is  touching the far end of the frame or in the center of the photograph. Like a music piece, a photography thrives with forms, harmonies and contrasts. Composition is a key component of photography, and art in  general. There are a few ways to define them—generally, by arrangement of objects, lines, shape and color and light contrasts. Depending from your goal, static or dynamic patterns, harmonies or disharmonies, repetition or opposites will be utilized. It’s our job, as  photographers, to know what designs work—what lines and circles automatically soothe or upset our minds—and find them in the real world to support our goal.One great way to find  closure in ever-expanding landscapes is to look for leading lines. Leading lines are self-explanatory: they lead our eyes, usually from somewhere in the  bottom of the frame to somewhere in the top third, or from one side of the frame to another.

    Visual elements of a photograph:

    • focus: what areas appear clearest or sharpest in the photograph? What do not?
    • light: what areas of the photograph are most highlighted? Are there any shadows? Does the photograph allow you to guess the time of day? Is the light natural or artificial? Harsh or soft? Reflected or direct?
    • line: are there objects in the photograph that act as (leading) lines? Are they straight, curvy, thin, thick? Do the lines create direction in the photograph? Do they outline? Do the lines show movement or energy?
    • patterns: are there any objects, shapes or lines which repeat and create a pattern?
    • shape: do you see geometric or organic shapes? What are they?
    • space: is there depth to the photograph or does it seem shallow? What creates this appearance? Are there important negative spaces in addition to positive spaces? Is there depth created by spatial illusions?
    • texture: if you could touch the surface of the photograph how would it feel? How do the objects in the picture look like they would feel?
    • value: is there a range of tones from dark to light? Where is the darkest value? Where is the lightest?

    How visual elements are arranged within a photograph creates the a composition.

    • angle: the vantage point from which the photograph was taken; generally used when discussing a photograph taken from an unusual or exaggerated vantage point.
    • background: the part of a scene or picture that is or seems to be toward the back.
    • balance: the distribution of visual elements in a photograph. Symmetrical balance distributes visual elements evenly in an image. Asymmetrical balance is found when visual elements are not evenly distributed in an image. Where to place subjects may Golden Rule, Rule of the Third (canvas section partitioning(.
    • central focus: the objects(s) which appears most prominently and/or most clearly focused in a photograph. Background toned down by shallow depth field
    • composition: the arrangement or structure of the formal elements that make up an image.
    • contour: the outline of an object or shape.
    • contrast: strong visual differences between light and dark, colours, varying textures, sizes, etc.
    • framing: what the photographer has placed within the boundaries of the photograph. A frame inside the image itself adds dimension and closure.It can be natural or later chosen by cropping. When we talk about natural frames, we talk about anything that creates a frame within the shot—vines, branches and trees are typical; buildings or streets sometimes work.
    • setting: actual physical surroundings or scenery whether real or artificial.
    • vantage point: the place from which a photographer takes a photograph.

    How visual elements relate with each other within a photograph, also creates the a composition.

    • Emphasis – is someone or something – the major motif – placed at the end of the line?
    • Movement – lines arranged static(vertical/horizontal) or dynamic (diagonal)?
    • Conflict – do your lines intersect?
    • Depth: make your canvas look larger with a shallow depth of field.
    • Opposition – are some of the subjects opposites?
    • Geometric pattern – triangle combination, symmetry or asymmetry?
    • Infinity – if your lines circle inside the frame, what visual effect does it create?

    Negative space is another crucial  aspect to photographic composition. Often black or white, is the space not filled by anything—a clear blue sky, or a blank wall. Often it can be a powerful  statement on its own, or simply accentuate the subject of the photo. If the the subject isn’t centered, lines need to lead. Composition is one of the thing, where you can your personal style.

     The Message  – Motif and Technique

    Now, anyone can buy a Canon EOS 5D Mark II – which I happen to have – and take shots on automatic, but if you want to really delve into what makes the photo special, you need more to understand its points of autofocus, its full frame sensor and its white balance modes. To take good photos, you need to control only three things aperture (f-stop), shutter speed and light. Aperture controls depth of field.

    • The wider your aperture, the shallower your depth of field—f/1.4, for example, is a very wide aperture, so your camera lens will be wide open, if you want a deeper depth of field, you’ll need a narrower aperture—something like f/16, which will create a consistently detailed image. Typically, when capturing cities and landscapes, deeper depths of field are more desirable, so every detail of the frame appears in focus. This calls for a narrow aperture, or high f-stop. Portrait is the other way around. A standard f-stop is f/8, in photojournalism called: “f/8 and be there.”
    • Shutter speed, then, is the length of time that the shutter stays open for. If the object moves you need high-speed, in dim light, low-speed (long exposure). There is a limit what one can do without tripod. No photo shop trick can bring a wrong focus or blurred picture.
    • The last major  factor is the sensitive your camera sensor to light measured in ISO. It is a crucial control to image quality under variable lighting conditions. Outdoor during the day, it’s easiest to leave your camera on the lowest ISO possible. When shooting indoors, you’ll need a higher ISO—anything higher than 3200 becomes susceptible to noise. In astro-photography noise can be handled. But for regular shoots, ISO should be as low as possible, and as high as needed. Under dim conditions you are better of with a grainy, but a blurred picture.
    • Photography is often referred to as painting with light. When we talk about painting with light we talk about the process of creating a photograph. Photography derives from the Greek where photo means light and graph stands for painting. Quality, quantity, direction and how we can manipulate light to our advantage makes exceptional photography.
    • Every light is tinted a different color, which is adjusted either by automatic white balancing or with RAW pictures (standard) during post processing. As I said, technique is granted, but has to support your idea, motif, composition and so on.

    Communication Model evaluated with Four Eyes Model

    4Ears4Eyes

    Idea, Motif and Effect convey all communication aspects. A classical way to analyze communication is by the “Four Ears Model” by the German psychology professor and expert on inter personal communication Friedman Schulz von Thun. We used it extensively for communication and moderation training. Let me explain the model in a few words. For simplicity, let’s talk about a ‘sender’ saying something and a ‘receiver’ who is listening. Schulz von Thun postulates that there are four channels that we communicate on simultaneously, namely:

    • Fact channel: the facts communicated,
    • Self-revealing channel: what the sender says about him or herself,
    • Relationship channel: what is being said about the relationship between sender and receiver
    • Appeal channel: what the sender wants the receiver to think or do.

    Sender and receiver may favor different channels and have different “mouths” and “ears”:

    • Everybody talks with four mouths (channels).
    • Every message is received with four ears and may emphasis one and neglect the other.
    • Sender/receiver use different context to code & decode the message like gender, culture and so on.
    • There is an implicit relationship between them.
    • Sender/receiver may favor different pair of the „Four Functions“. Based on Carl G. Jung’s typology, people can be classified using four mental functions: sensing, intuition, thinking and feeling together with the attitude (extraversion-introversion), later used in the MBTI model.
    • Sender/receiver may be other personality types.  An extrovert deals more with the objective (rational in a Jungian sense), whereas an introvert relies more with the subjective ( irrational in a Jungian sense).
    4 Eyes
    4 Eyes

    This communication model can relative easily mapped to our visual sense, the most important one, for photography anyway. The Interaction or Communication of a photo can be evaluated with the Four Eyes Model (again Sender and Receiver have different ways of seeing or “eyes”):

    • The Storyline Eye maps to the Appeal channel. It has been the eye of medieval and early painting.
    • The Artist self-disclosure Eye maps to the Self-revealing channel. It has been the eye of modern art, particularly impressionism.
    • The Formal  Eye maps to the factual content channel. It has been the eye of the renaissance, classicism  and Bauhaus. Contemporary art often is is straight and only for the formal eye.
    • The Emotional Eye  maps to the relationship cannel. It has been the eye of romantic and impressionism.

    Form and Emotion or Self-disclosure and Storyline are often in dialog. A good combination of all four “Eyes” is desired, to stimulate different parts of the brain and conscious levels of the receiver (viewer) and transcends  time (Zeitgeist) and culture (civilizations).

    The communication model is mostly used for analytic purposes not for evaluation of quality. However, often contemporary visual art communicates badly (void or one dimensional) and/or imbalanced in regards of evaluation framework (e.g. totaly focussed on reception or effect), more mass product than art, often without any command of technical aspects.  Bad communication typically reflects bad art, but “beauty is in the eye of the beholder” (receiver).

    The Storyline Eye – media icones of modernity

    From the myriad of everyday pictures, a few images have greater power and are constantly quoted and reproduced, and worshiped,  defended but also attacked. There are images with iconic status, almost modern images of saints.
    guaranteed effect. According to art historians you need for photographic icons:

    • suggestion of authenticity
    • timely compression of story and action
    • dominant figure in the foreground (sign  character)
    • synaesthetic perception
    • imaginative image space
    SPAIN. Cordoba front. September, 1936. Death of a militiaman.
    SPAIN. Cordoba front. September, 1936. Death of a militiaman.

    Every good picture is telling a story, may want to persuade and influence us. Travel and News photography focus on it. The Vietnam picture, of the example above, is of course also an emotional appeal, but if you look closer, the smoke and the soldiers in the background are hard facts to back the story in the foreground. Those pictures are supported by clear forms and very strong compositions. The story line needs the right moment, only possible with intuitive anticipation and tease all four eyes.  The storyline is used in reportage, documentation and war photography. You need to be close to the action (or bullets), many good photographers use a wide angle. In this type photography, the composition around the main subject is key, representing the form and the action triggers emotions, and techniques (self-disclosure) supplement and emphasise the storyline.

    The Artist self disclosure Eye

    Every photo is an artists interpretation of reality and reflects his or her personality and personal style. The work of a good photographer can be recognized like a painting of an old master. A photographers choice of the subject (e.g. landscape vs. portrait) already reveals himself.

    The Formal Eye

    Symbol of totalitarian EU and fail Euro? european-central-bank
    Symbol of totalitarian EU and failed Euro? european-central-bank

    Lines, patterns, structures, the three-part rule, all guide the viewer. They are characters and words of the photographer’s language. The composition relies (ideally) on a universal language, concerned mostly with the rational level. Form gives structure and proportions define beauty.  Clear and simple form satisfies the human desire for rules and scientific laws.  In photography and painting  it is specifically used to transform three (or four) dimensions on a two-dimensional canvas. From Stonehenge to the Pyramids, from cathedrals to the ECB bankers temple, geometry matters (for the Greeks the divine language). Kepler apologized for using the (correct) ellipse instead of the (divine) circle in his planetary model. Form and abstraction go hand in hand – patterns and silhouettes, still life and architectural photography. Even nude photography and landscape focus on form. In architectural photography, the constructional attributes  of a building, representing the form, are complemented with lights (emotions), people (storyline) and techniques (self-disclosure).

    The Emotional Eye

    The emotional eye wants to connect to the viewer’s unconsciousness, his emotions and cultural background , concerned mostly with the irrational level. In a Jungian senses, they refer to the intuition of the photographer, using cunningly or unconsciously symbols and collective archetypes. Advertising or propaganda pictures are prime examples. In portrait, sport or animal photography, the main attributes are pose and body language representing the emotion, are complemented with composition (form), surroundings (storyline) and perfect light techniques (self-disclosure). In nature photography again all four eyes need to be satisfied. Nude photography lives for a hidden story not from bare skin.

    Conclusion

    Photography is art, which moves actually into the realm of painting and needs a not only technical skills, but solid visual analysis and understanding of psychology. Extensive equipment and post-processing capabilities may enhance technical quality and effect. That may satisfy the Zeitgeist,  but creates not necessarily art.

    Literature

    2006 DATA BECKER: „Die grosse Fotoschule – Digitale Fotografie“ (Martin Zurmühle)
    2010 Vier-Augen-Verlag: “Bildanalyse nach dem Vier-Augen-Modell” (Martin Zurmühle)
    2011 Vier-Augen-Verlag: “Bildbewertung mit dem Doppelten Dreieck” (Martin Zurmühle)
    2013 Vier-Augen-Verlag: “Bildsprachen zeitgenössischer Fotografen” (Martin Zurmühle)
    2014 Vier-Augen-Verlag: “Das grosse Lehrbuch Digitale Fotografie” (Martin Zurmühle)

    Phillip Knightley, The Eye of War. Words and Photographs of the Front Line, London 2003

    Best American Journalism of the 20th Century

    Hellmold, Martin (1999): “Warum gerade diese Bilder? Überlegungen zur Ästhetik und Funktion der historischen Referenzbilder moderner Kriege”, in: Thomas F. Schneider (Hg.), Kriegserlebnis und Legendenbildung.

    Glossary

    The following words are the basic vocabulary I use in describing photographs.

    • Photographic eye

      “Most people using a camera for the first time try to master the controls but ignore the ideas. They photograph intuitively, liking or disliking what they see without stopping to think why, and framing the view in the same way. Anyone who does it well is a natural photographer. But knowing in advance why some compositions or certain combinations of colors seem to work better than others, better equips any photographer.”

      • Image Frame (frame dynamics, cropping, stitching and extending, filling the frame, horizon.
      • Design Basics ( contrast, pattern and texture, balance, visual weight etc)
      • Graphic and Photographic Elements (covering horizontal, vertical and diagonal lines, curves, motion, focus, exposure).
      • Composing with Light and Color and black and white.
    • content: the subject, topic or information captured in a photograph.
    • direct approach: confronting a scene in a straight-forward manner, without using unusual angles or distortion.
    • documentary photography: photographs whose main purpose is to record a place, person(s) or event.
    • expressive: concerned with communicating emotion.
    • geometric shape: simple rectilinear or curvilinear shapes found in geometry, such as circles, squares, triangles, etc.
    • goal: reason(s) why the artist made a work of art.
    • landscape: an image that portrays the natural environment.
    • motif – the dominant subject or theme in a photograph (e.g. model, landscape)
    • objective: a point of view free from personal bias, which attempts to consider all available information with equal regard and fairness.
    • organic shape: shapes based on natural objects such as trees, mountains, leaves, etc.
    • representational: an image which shows recognizable objects.
    • subject: the main object or person(s) in a photograph.
    • theme: a unifying or dominant idea in one work of art or in a collection of works.
  • History of time III: From Solar to Lunar Year

    History of time III: From Solar to Lunar Year

    Nut

    History of time plays a major role as societies moved from from from per-historic to complex civilizations their calendar system adopted from nature and weather calendars to direct observation and lastly to calculated calendars (see here). In this transitions, the switch from lunar calendars to solar calendars (pure solar, lunar-solar or solar-lunar) was an important step seen in many cultures but most prominent in Egypt history which has spaned (or spawned) over 3000 years. The famous myth of Isis and Osiris written down by the Greek Plutarch shows a correspondence to the cultural shift from matriarchal to patriarchal society with complexer ritualized spirituality and civil administration. Isis prevails to a certain degree, making even a revival in Roman times and I would say in Christianity (see Isis, Mithras and Jesus: Clash of male and female Archetypes in classical Rome). Plutarch’s story of the fight between sun and moon, good and evil, yin and yang, based on Egyptian oral teachings  has beneath its astronomical setting psychoanalytical and sociological dimension.

    The Egyptian civil calendar, base of the Roman Julian and today’s Gregorian calendar, was the first  solar calendar known to use a year of 365 days, approximately equal to the tropical year. The Egyptians added 5 days to the schematic (astronomical) year of 30 x 12 = 360 days, invented by the Sumerians around 2400 B.C. to get a solar year. Epigone was the five days of holiday they set in to even the year before New Year. The Greek word means “born afterwards”. The Sumerians had also holidays and called them “sleepers days”. 

    The 360 days Sumerians (Chaldean) normal year equals with the 360 degrees of the epileptic divided by 12 sectors, the latter again unchanged until today. This astronomical calendar could be connected to the Sumerian civil lunar year of 354 days. On a side note, the Mesopotamians used also the first mathematical position system i.e, an sexgesimal arithmetic, which is method of comutation  by 360 of the full circle divided by 12 hours in 60 minutes and60 seconds and came up with weeks and months. Those numbers 5,7, 12, 60 were meaningful and sacred (some sources say also six, but it disturbes my sense of arithmetic):

    • Seven that is 5 visible planets to the sumerians plus (2) sun and moon.
    • Twelve, Jupiter completing a full cycle through the epileptic in twelve years

    • 60 years for 5 full Jupiter and 2 full Saturn  cycles the epileptic (5 and 2 again give 7); 5 times 12 of course giving 60, 360and in a way six.

    Back to Egypt, they simultaneously maintained the older lunar calendar, which  consisted of twelve months whose duration differed according to the length of a full lunar cycle (normally 28 or 29 days). Each lunar month began with the first visible new moon. Since the lunar calendar was 10 or 11 days shorter than the solar year, a 13th month (called Thoth) was intercalated every several years to keep the lunar calendar in rough correspondence with the agricultural seasons and their feasts. New Year’s Day was signaled by the annual heliacal rising of the star Sothis (Sirius), when it could be observed on the eastern horizon just before dawn in midsummer; the timing of this observation would determine whether or not the intercalary month would be employed. However, the new calculated solar calender with 365 days matched the tropical years and seasons much better, and here is the story of  how the additional five days were found:

    The following text an excerpt and translation based on a old narrative in German of Plutarch’s work found in the book of  Dr. Wiedemann, Muenster 1890. It can can be seen another myth, but to me there is much more in it: an astronomical revolution. Plutarch’s full text can be obtained in English: Part One of Plutarch’s Greek work entitled Moralia, which was published in Volume V of the Loeb Classical Library, 1936 edition (now in public domain).

    This Part One is entitled Isis and Osiris and the extract includes Plutarch’s version of the entire myth of the death and subsequent resurrection of the Egyptian god Osiris.  This version is the only relatively complete telling of this story that has survived down to the modern era, although all parts have found as piecemeal in Egyptian writings.

    nutgeb
    nutgeb

    Chronus (Geb , the god of the earth) and Rhea (Nut, the goddess of the night sky) angered the sun god Helios, their grandfather, because they were locked in a perpetual embrace thought to be in a constant state of love making. Helios (Ra), when he became aware of Rhea’s (Nut’s) intercourse with Chronus, invoked a curse upon her that she should not give birth to a child in any month or year; however Hermes (Toth), also being enamored of the goddess, helped her out and she gave later birth to five gods.

    Playing checkers with Selene (Goddess of the moon and and sister of the sun-god Helios), he won from her the seventieth part of each of her periods of illumination, and from all the winnings he composed five days, and inserted them as an addition to the three hundred and sixty days (12 x 30). The Egyptians intercalated these five days and celebrated them as the birthdays of the gods. Called Epigone, those days of holidays were set in to adjust to the solar (tropical) year before New Year. The Greek word means “born afterwards” when 5 days was added to 12 x 30 = 360 to even a year. The Sumerians had also those holidays. So the lunar year became a solar year  and Nut a chance to give birth to Osiris, Horus the Elder, Set (or Seth), Isis and Nephthys. Since Plutarch used Greek names for gods and goddess an explanation and name mapping is given in the Appendix.

    They relate that on the first of these days Osiris was born, and at the hour of his birth a voice proclaim with a loud voice that a mighty and beneficent king, Osiris, had been born; and for this Cronus entrusted to him the child Osiris, which he brought up. It is in his honor that the festival of Pamylia is celebrated, a festival which resembles the phallic processions. On the second of these days Arueris was born whom they call Apollo, and some call him also the elder Horus.
    On the third day Typhon was born, but not in due season or manner, but with a blow he broke through his mother’s side and leapt forth.
    On the fourth day Isis was born in the regions that are ever moist; and on the fifth Nephthys, to whom they give the name of Finality and the name of Aphroditê, and some also the name of Victory.

    There is also a tradition that Osiris and Arueris were fathered from Helios, Isis from Hermes, and Typhon and Nephthys from Cronus.
    For this reason the kings considered the third of the intercalated days as inauspicious. Nephthys became the unhappy wife of Typhon; Isis and Osiris were enamored of each other and even consorted together in the darkness of the womb before their birth and so Arueris (Horus the Elder) came from this union who was called Apollo by the Greeks.

    IsisOsirisHorus
    IsisOsirisHorus

    One of the first acts related of Osiris in his reign was to deliver the Egyptians from their destitute and brutish manner of living. This he did by showing them the fruits of cultivation, by giving them laws, and by teaching them to honor the gods. Later he traveled over the whole earth civilizing it without the slightest need of arms, but most of the peoples he won over to his way by the charm of his persuasive discourse combined with song and all manner of music. Hence the Greeks came to identify him with Dionysus.

    During his absence the tradition is that Typhon attempted nothing revolutionary because Isis, who was in control, was vigilant and alert; but when he returned home Typhon contrived a treacherous plot against him and formed a group of conspirators seventy-two in number and Aso, a queen from Ethiopia who was there at the time and whose name they report as Aso. Typhon, having secretly measured Osiris’s body and having made ready a beautiful chest.  Typhon jestingly promised to give it to the man who should find the chest to be exactly his length when he lay down in it. They all tried it in turn, but no one fitted it; then Osiris got into it and lay down. The plotters ran to it and slammed down the lid, which they fastened by nails. Then they carried the chest to the river and sent it on its way to the sea through the Tanitic Mouth. Wherefore the Egyptians even to this day name this mouth the hateful and execrable.

    The date on which this deed was done was the seventeenth day of Athyr, when the sun passes through Scorpion, and in the twenty-eighth year of the reign of Osiris; but some say that these are the years of his life and not of his reign.

    anubis
    anubis

    Isis, when the news reached her, at once put on a garment of mourning and wandered everywhere at her wits’ end; Isis, learning that Osiris in his love had consorted with her sister Nephthys through innocence, in the belief that she was Isis, sought to find this child; Dogs led Isis to it, it was brought up and became her guardian and attendant, receiving the name of Anubis, said to protect the gods just as dogs protect men.

    Later Isis learned that the chest had been cast up by the sea near the land of Byblus in the midst of a clump of heather which in a short time ran up into a very beautiful and massive stock, which enfolded and embraced concealed the within its trunk. The king of the country admired the great size of the plant, cut off the portion that enfolded the chest and used it as a pillar to support the roof of his house.
    Isis ascertained this by the divine intuation, and came to Byblus fragrant with ambrosia.  Isis was sent for the queen and became so intimate with the queen that the queen made her the nurse of her baby. They say that the king’s name was Malcander; the queen’s name some say was Astartê (Isis is the Egyptian name for Astarte, the major Phoenician goddess equivalent of the Sumerian goddess Ishtar) The Greeks would call Astartê later Athenaïs.

    They relate that Isis nursed the child by giving it her finger to suck instead of her breast, and in the night she would burn away the mortal portions of its body. When the queen saw her child on fire, gave forth a loud cry and thus deprived it of immortality. Then the goddess disclosed herself tothe queen and asked for the pillar. She removed it with the greatest ease and cut away the wood of the heather wrapped it up in a linen cloth and had poured perfume upon it and entrusted it to the care of the kings; and even to this day the people of Byblus venerate this wood which is preserved in the shrine of Isis. Then the goddess placed the coffin on board a boat and put out from land.

    In the first place where she found seclusion, when she was quite by herself, they relate that she opened the chest and laid her face upon the face within and caressed it and wept.

    isis-and-nursing-horus the child (black maddonna)
    isis-and-nursing-horus the child (black maddonna)

    Isis proceeded to her son Horus (the Elder), who was being reared in Buto, and bestowed the chest in a place well out of the way; but Typhon, who was hunting by night in the light of the moon, happened upon it. Recognizing the body he divided it into fourteen parts and scattered them, each in a different place. Isis learned of this and sought for them again, sailing through the swamps in a boat of papyrus. The traditional result of Osiris’s dismemberment is that there are many so‑called tombs of Osiris in Egypt; for Isis held a funeral for each one of the 13 parts when she had found it. Of the parts of Osiris’s body the only one which Isis did not find was the male member, for the reason that this had been at once tossed into the river, and the lepidotus, the sea-bream, and the pike had fed upon it; and it is from these very fishes the Egyptians are most scrupulous in abstaining. But Isis made a replica of the member to take its place, and consecrated the phallus, in honor of which the Egyptians even at the present day celebrate a festival. Osiris consorted with Isis after his death, and she became the mother of Harpocrates (Horus the Younger), untimely born and weak in his lower limbs.

    Later, as they relate, Osiris now god of the underworld came to Horus from the other world and exercised and trained him for the battle. After a time Osiris asked Horus what he held to be the most noble of all things. When Horus replied, “To avenge one’s father and mother for evil done to them,” Osiris then asked him what animal he considered the most useful for them who go forth to battle; and Horus said, “A horse,” because it served best for cutting off the flight of an enemy and annihilating him.

    Now the battle, as they relate, lasted many days and Horus prevailed. Isis, however, to whom Typhon was delivered in chains, did not cause him to be put to death, but released him and let him go. Horus could not endure this and laid hands upon his mother and wrested the royal diadem from her head (some say cut off er head); but Hermes put upon her a head of a cow.

    Horus was declared as legitimate child and Typhon was finally overcome in two more battles.

     

    The transition can be wonderfully seen in the tomb of Senemut,  chief architect . astronomer, and former lover and favorite of lover of Pharaoh Hatsheput.

    His tomb ceiling contains a presentation of the northern constellations with celestial objects, Osiris as Orion, Isis as Sirius, Horus as Jupiter, Horus again as Saturn.  A bird on the left represents Osiris as a phoenix linked with planet Venus as a morning star.  Another figure of Horus spears an ox representing Set-Apep as the constellation Ursa Major.

    senemut night sky
    senemut night sky

    As we learned that the solar (astronomical) year was divided in twelve times thirty days and set in five to six days as a holiday. We understand the synchronization of the sun year and the moon loops in the symbolism as a whole.

    The origins of the constellations in the Senenmut calendar are perhaps from about 2700 BC. It is depending on which star is the exact used in the constellation of either Ox or Scorpio.

    The black headgears in the rows are originally dark red and are surely moons. The fifth from right have a star symbol in the name and a dog-head. Compared to the Sumerian Dog it maybe was to be synchronized with Sirius.

     The asterisks Scorpio and Ox are fix stars of equinoxes and then they originate from ca 3100 BC. We see also twelve wheels as a calendar contending months. The thirteen moons are below and the changing of years is in the middle. The ongoing year is a hippopotamus with a crocodile on its back and the new little crocodile in hand. We see Horus the time or sun using a Stele pointing at the Taurus and the opposite Scorpio with a moon symbol.

    Some glyphs are special signs or icons in use with calendar or when writing about time. In the upper row fourth from right the symbol reads KA KA and in beginning of the third is a square with an eagle. In the second row the first wheel from right has a Hathor-cow icon with a year glyph.

    In the suite behind Taweret is Isis the leading one as she has been in Egypt for thousands of years before this drawing.

     

    Appendix:

    Plutarch uses Greek names for most of the Egyptian gods and goddess  (capital letters) so here is a short overview

    SmallEgyptianTree
    Small Egyptian Tree

    Sun (Helios)  AMUN-RA

    Ra (Re) was thought of as the “Sun God”, and was once the most important God of the Ancient Egyptians.   Ra had been combined with Amon / Amun (the “hidden” aspect of the one God) as Amon-Ra/Re, and with Atum (the “potentiality” aspect of the one God) as Atum-Re/Ra. The Egyptians thought that Nut, the sky-goddess, swallowed Ra each evening, when he then travelled through the underworld only to reappear and be reborn again every morning. Personified in this way as the sun Ra represented life, rebirth, health and vitality. He is not to be confused with the henotheistic abstract God under Akhenaten, ATON or ATEN the new god of the sun, an incarnation of Re. It was a monotheistic attempt, a revolution lasting only on reign.

    Rhea -NUT:    the sky-goddess, wife/lover/sister of Geb, the earth-god; represented as a woman, her naked body curved to form the arch of heaven. There is  a tradition that fromher five children, Osiris and Arueris were fathered from Helios, Isis from Hermes, and Typhon and Nephthys from Chronos.

    Chronus – GEB: the earth-god; husband/brother of Nut;  member of the ennead of Heliopolis; represented as a man. Geb and Nut angered the sun god Ra, their grandfather, because they were locked in a perpetual embrace.  However, Nut was found to be pregnant and gave birth to Osiris, Horus the Elder, Set, Isis and Nephthys. According to the creation myth, Geb still longed for his sister. He wept when he was separated from her, and so created the oceans of the world.

    Thoth Ra
    Thoth Ra

    Hermes – THOTH

    Thoth (also Djehuty or Tehuty) is the archetypal Lord of Wisdom and of learning, writing, speaking, medicine, pictures and symbols. He protects all writers, teachers and scribes and was considered to be the tongue or heart of Ra. He is often shown with the head of the sacred Ibis bird, and sometimes is pictured as a baboon. Thoth is also a master magician and alchemist, and hence sometimes is shown with a lunar disc (symbolising magic) over his head.

    MAAT

    The Goddess Maat can be described as being the Animus of  Thoth – Thoth having a wife called Seshat. Maat personifies the concepts of truth, justice, balance, order and Ma’at (the Divine laws) which prevent a return to chaos. To the Egyptian people Maat ruled good behaviour, morality and spiritual ideals. Her symbol is the black and white ostrich feather, which symbolizes duality.

    1) OSIRIS

    Osiris was husband and brother of Isis, and brother to Nepthys, Set and Horus. He has been called later Lord of the Afterworld and Father of Kings. Because of his legend, which was to do with death and resurrection, he became associated with the cycle of life and death, and with the annual inundation of the Nile. He represents the wise spiritual father, encouraging us on the path of order and self-discipline.  Osiris was regarded as the son or earthly representative of Ra (God) just as Jesus was regarded  son of Godfather.

     2)  ISIS

    Ishtar

    Isis (Eset, Aset) is the wife of Osiris, mother of Horus the Younger and Bast and sister of Nepthys and Set. Her name means “seat” or throne, and this is often pictured symbolically as a crown upon her head. Isis stands for love, magic, medicine and fierce feminine energy. Sothis (Sirius) was identified with Isis in many Egyptian texts Plutarch states that “The soul of Isis” is called Dog by the Greeks. There is also no coincidence that Isis is the Egyptian name for Astarte the major Phoenician goddess, equivalent of the Sumerian goddess Ishtar related to Venus.

    During the first century A.D., Alexandria, Egypt was a veritable hotbed of mystical activity, a crucible in which, according to Holy Blood, Holy Grail, “Judaic, Mithraic, Zoroastrian, Pythagorean, Hermetic, and neo-Platonic doctrines in an amalgamation or syncretism. Although they worshiped a Black Madonna as the Holy Virgin, she has an altogether different connotation to Gnostic than it does to Christians.  Legend connects this Black Madonna with both Isis and Magdalene.

    3) Typhon   – SET

    Set is the brother of Isis, Osiris, Horus the elder and Nepthys and wife of Nepthys and father of Anubis and uncle to Horus the younger. He is the equivalent of the archetypal “prince of darkness” in the Egyptian belief system, although he was intensly worshiped exactly for this.

    4) Arueris – HORUS the Elder

    Horus the Elder (Heru) was the son of Nut and Atum.

    Harpocrates – Horus the Child (Hor or Har) was a sky and solar god, son of Osiris and Isis, presumable pre-natal.  He is known as the God of Joy and of Light, and his symbol is the hawk – master of the skies and protector of kings. Many people confuse him with his grandfather Horus the Elder.

    5) Aphrodite    – NEPTHYS

    Nepthys was the sister of Isis, Set, Osiris and mother to Anubis and wife to Set. Nepthys wears the horns and solar disc, or may be shown with the vulture headdress. She is the guardian of all things hidden or concealed or not yet come into form; of  dream and represents psychic receptivity. She is the other side of Isis – Isis representing light and generation, Nepthys representing dark and dissolution. Nepthys represents that which is invisible and the darkness, whilst Isis represents that which is visible and the light.

    ANUBIS:

    Son of Nepthys and Set (or possibly Osiris) and nephew to Isis. Anubis (also called Anpu, Inpu, or Imeut) is not to be mistaken with Wepwawet.  Anubis is the jackal (wolf or dog) – headed God of the Underworld and of Embalming. He is the protector of the dead and overseer of the mummification process. Anubis sits on the boundaries of the living and of the dead.

    Google

    Relevantes sites one really shouldn’t miss.

    CairoAncient Memphis
    EgyptianTemples

    Pyramids of Giza
    Pyramids of Sakkara
    Pyramids of Dahshour
    Pyramids of Abu sir
    Pyamids of Mydoum
    Pyramids of eleisht.html
    Pyramids of Hawara.html
    Pyamrids of Abu Rawash
    Pyramids of EL Lahaoun
    Pyramids of Hawara
    Pyramid of Mazghuna
    The Egyptian Museum
    The Coptic Museum
    The Castle of Saladin
    The Old Market “Khan El-Khalili”
    The Hanging Church
    Santa BarbaraOld Islamic Cairo:

    Sultan Hassan Mosque
    Refai Mosque

    LuxorLuxor Temple
    Karnak Temple
    The Colossi Of Memnon
    Valley Of The Kings
    Temple of queen Hatshepsut
    Temple Of Medinat Hapu of Ramses III
    Valley Of The Queens
    Valley Of The Nobles
    Temple Of Dendera
    temple of Esna
    Temple Of AbydosCourt of Ramses II, which includes a shrine to Thutmose III
    Mosque of Sufi Shaykh Yusuf Abu al-Hajjaj
    Chapel of Alexander the Great
    AlexandriaThe Castle of Qaitbay
    The Pompeii Pillar
    The Catacombs of Kom El-Shouqafa
    The Amphitheatre of Kom El-Dikka
    The Montazah Palace Gardens
    SinaiThe city of Sharm El-sheik
    The city of Dahab
    The City of Nuweiba
    The City of Taba
    Red Sea CoastMonastery of St. Paul
    Mostry of St. Anthony
    Hurghada
    Safaga,
    Marsa Alam
    AswanTemple at Philae, island ancients island surrounded with a dam and inside dry.
    philae
      The main temple is dedicated to Isis and was the center of the cult of Isis and Hathor from 370 BC. The temple was finally closed by the Emperor Justinian in 535AD.
    Centre of the Nile Valley (Minya, Asyut and Sohag)Beni Hassan in Minya
    Monasteries of Asyut
    Temple of Abydos in Sohag
    Akhenaten’s city of Akhetaten at El- Amarna ( near Minya)

     

  • Female Archetype of Sabina Spielrein – queen or wise women?

    Female Archetype of Sabina Spielrein – queen or wise women?

    Sabina Spielrein (1885-1942) was a brilliant psychoanalytic pioneer in many ways —one of the first women to write a psychoanalytic dissertation, the leading pioneer in child psychology, and the true originator of the “death drive” (destruction as the cause of becoming) a full decade before Freud. Sometimes not the individual misses a moment of history, but fate or history itself rejects a significant person, choosing a darker alley rather than a great moment. This essay explores Spielrein’s contribution to psychoanalytic theory and her enigmatic live including  after she moved  back  to the USSR.

    When Jung and Spielrein had their intense romantic and intellectual entanglement between 1904 and 1909. According to letters it seems initially, Freud and Jung actually colluded to downplay her and paint her as a vengeful, unstable woman to protect Jung’s career. However after Jung split from Freud in 1913, the Freudians warmly welcomed Spielrein [into the Vienna Psychoanalytic Society] very likely partially because they realized they could use her intimate knowledge of Jung as an institutional weapon. Resembles her life the female archetype of the Queen (in exile), or Russian Jewish Wise Woman entangled with the two leading pioneers of the first hour of psychoanalysis – C. G. Jung and Sigmund Freud?

    By 1923, Spielrein was living and practicing in Geneva, entirely safe from the volatile political currents sweeping through Eastern Europe. However, Freud explicitly supported and encouraged her return to Soviet Russia to help establish and institutionalize psychoanalysis in Moscow. Besides ending deadly for herself and her three brothers, this served a dual, cynical purpose. It allowed Freud to plant the flag of psychoanalysis in the newly formed USSR and it permanently removed a (maybe too) brilliant, potentially vocal woman with inmate knowledge of the Freudian circle from the European intellectual center. She moved  back  to the USSR, shortly before Lenin’s death in January 1924. Her family was completely caught in the dual meat-grinders of the 20th century of the two totalitarian regimes of Stalin and Hitler.

    Scope and Structure

    Secret Symmetry
    Secret Symmetry

    Most know from Sabina Spielrein, that she was patient and presumably a lover of of C.G. Jung and later a psychoanalyst herself.  Spielrein, who could have been a decisive Jungian, switched sides to Freud and his narrow materialistic Viennese psychoanalyst school -certainly a founding stone but largely discarded clinical today. It seems to me that Freud (and to a lesser degree C.G. Jung) used and belittled her. Supposedly on advice of Freud Spielrein moved to Russia, conveniently forgotten by the psychoanalytical community and out of the way. After 1923 she has published only one scientific paper. Freud borrowed freely her ideas, and his daughter Ann assumed her role in child psychology.

    1942 Spielrein and her daughters vanished in a SS massacre on the Jewish community at Rostov on Don, Spielrein’s birthplace. Between August 2 and 11, 1942, the Einsatzgruppe D SS unit murdered up to 18,000 Jewish residents in a mass shooting at the Zmiyevskaya Balka (Snake Ravine). The exact names and stories of individual families from this tragedy are extremely difficult to locate.

    I like ponder the following questions about Sabina Spielrein:

    • Psychological Dimension
    • Theoretical work of Sabina Spielrein;
    • C.G. Jung and Sabina Spielrein
    • Sigmund Freud and Sabina Spielrein
    • Sabina Spielrein in Russia
    • Sabina Spielrein in psychoanalytic history

    I have touched the life of Sabina Spielrein in a former article briefly, but will try to approach her in this essay by her own accounts or those of C.G.Jung and Sigmund Freud:

    • Spielreins’s doctoral thesis and her famous publication  “Die Destruktion als Ursache des Werdens” Jahrbuch für psychoanalytische und psychopathologische Forschungen IV. Band 1912  (available as pdf).
    • Her recently discovered diary and letters to Jung and Freud published in  “A secret symmetry” by Aldo Carotenuto (original in Italian).
    • Sigmund Freud, Carl Gustav Jung Briefwechsel Freud / Jung Fischer Verlag 1974 (also available by Princeton University Press);
    • The second must-read scholarly analysis, “A Most Dangerous Method” by John Kerr, 1993.

    In order to get more historical and evidential context  I used:

    • History of the Bolshevik Revolution  by von Rauch (Wiesbaden 1955)
    • Historical Analyses around location and time listed in the reference section. Rostov on Don is located 500km (300mi) from the current Crimea  Crisis area.  The city, occupied by German troops twice, saw the first major retreat of the German forces in WWII on their way to Stalingrad.
    • Finally Marton’s somewhat dry documentary My Name Was Sabina Spielrein (2002) and the juicy edutainment  “A Dangerous Method (2011)” by David Cronenberg which may also be called a “A Marketable Distortion”. When dealing with historical characters, freedom of art does not allow a severely distorted portrayal.

    Please bear in mind this not a scholarly work buts an essay about a woman who deeply scarred by two major psychoanalytic schools, and who was destroyed by both of the twentieth century’s major totalitarian systems.

    The triangle –  Jung – Spielrein- Freud interaction

    jung sabina freud

    Throughout his life, Freud experienced competitive feelings in male-female-male triangles (John and Pauline; Wilhelm Fliess and Emma Eckstein ; C.G. Jung and Sabina Spielrein) with a male intimate companion.   It is perhaps ironic that when Sigmund Freud – who lived by the psychoanalytic theory that sexual desire was the prime driver for human beings – found out his young protégé, Carl Jung, was having an extra-marital affair with Sabina Spielrein. Sabina Spielrein, seems not the only female patient with whom C.G. Jung had an relationship, he was a decidedly heterosexual man of impressive stature, but it seems this one was serious by nature. In Spielrein’s letters she writes about wanting to have a “Aryan-semitic” child, and as she tests actually Freud’s theory with those of C.G. Jung it seems that really this is meant on a a metaphorical level – merging the two complete different psychoanalytic systems together.

    Freud was viewing Jung as protégé and innovative and original heir to psychoanalysis. Jung, however, soon questioned some of the basic tenets of Freudian theory. Freud’s reaction to the defection of Jung, and later that of Alfred Adler, was to close ranks and further guard his theories. C.G. Jung’s view fit nicely to contemporary thinking, that innovative conservatism, which is called for to protect freedom -and- the world environment as well as western heritage. C.G.Jung’s cultural roots were decisively neo-romantic drawn to symbolism and irrationality or at least mystic and he uniquely connected psychology and religion. In politics he questioned democracy and rejected socialism preferring elitism – like Nietzsche which is quoted extensively by Spielrein. Jung criticized also the rationalistic, “disenchanted” view of the world, Freud’s hostility against religions and contradicted him on many theses. Freud was to one-dimensional and a product of a special, narrow and bourgeois short overcome period, Freud not Jung became mainstream, Spielrein deserted Jung and of course Freud’s materialistic view appealed to the left.

    Psychological Dimension – Female Archetype of Sabina Spielrein

    Until 1980, Sabina Spielrein was represented in the work of Sigmund Freud in the psychoanalytic literature by four footnotes; also it is mentioned several times in the Freud-Jung correspondence (1974). Through her relationship with Jung, Sabina Spielrein had a direct effect on Jung’s own ideas, particularly the Animus. She was his first and prototype of Anima.  Her second paper talks about the death instinct a concept that Freud would later adapted as part of his own theory. These marginal existence, in psychoanalytical history only changed when you have a box of highly interesting material discovered late seventies during renovation work in the basement of the Palais Wilson in Geneva from the early days of psychoanalysis. Aldo Carotenuto, a Jungian analyst, was notified and immediately recognized the importance of the matter. It was Sabina Spielrein’s namely correspondence with Sigmund Freud and Carl Jung and her diary.

    Her diary and her letters to Freud and Jung constitute the greater part of  the book “Secret Symmetry” of Mr. Carotenuto, a Jungian analyst and a professor of psychology at the University of Rome. There are also a number of letters from Freud to Spielrein, but, most unfortunately, the Jung family will not release Jung’s letters to her, although Carotenuto has been allowed to quote from them.

    The subject –  her diary

    anima
    anima

    Over 25 years ago, diaries of Sabina Spielrein and letters she received from Jung and Freud were found in the basement of the Wilson Palace in Geneva (the Psychology Institute where she worked used to be there).

    The documents were published for the first time by Italian psychoanalyst Aldo Carotenuto. He understood that the discovered materials would once again confirm the liaison between Jung and his patient, his subsequent pupil, that Freud was also  involved there quite sinister. Carotenuto (either out of gentleman’s solidarity, or because of his respect to the founders of psychoanalysis) supplied the letters with polite comments.  The diary covers the years 1909 to 1912. They paint a picture of a bright, young completely healthy young woman concerned with her doctor thesis. It is also a good account to her time growing up, and shows also it seems the typical conflict of young Jewish female if they fall in love with a Christian man.

    Sabina Spielrein fell deeply in love with Jung during her treatment, a love that she knew must remain secret due to his marriage and the ethics of his profession. Jung was first attracted to Spielrein at Burghölzli. In the records at Burgholzli Hospital on his treatment of Spielrein, Jung wrote an entry in his own handwriting on January 29, 1905. He states that he had visited Spielrein the previous night, “reclining on the sofa.” He describes her manner as “oriental” and “voluptuous,” and her face as bearing “a sensuous, dreamy expression” (Covington and Wharton, 96.) Both Spielrein and Jung’s feelings for each other continued to deepen in subsequent years. They shared a passionate interest in psychoanalysis that further bonded them.

    The object – Letters between C.G. Jung and Sigmund Freud about “Die Kleine”

    Hidden Censorship
    Hidden Triple Agenda – Jung and Freud writing about Sabina

    Spielrein’s mental health “affliction” appeared at age seventeen, although she had been beset with problems throughout her young life. She was taken to the ( Burghölzli) Burgholzli Treatment and Care Institution (or Psychiatric Clinic) in Zurich on August 17, 1904. Spielrein became the first patient of Carl Jung, ten years her senior. She remained an out-patient in treatment  with Carl Jung for years after her hospital discharge June 1, 1905.  Jung wrote to Freud in October 1906 (one of their first letters (4J and 5F), seeking his opinion about a “severe case” he had involving a young female Russian student. During the course of her treatment, Sabina Spielrein became the friend and then most likely mistress of Jung. So almost one year later, in June 1907 he had to ask for advice again, telling Freud that Sabina Spielrein had made inappropriate demands to have a child with him and since he declined was badmouthing him. Indeed  the letters to Jung speak of an Semite-Aryan child ,she wanted to have with him, but that seems purely metaphorical. Freud responded professional, saying in essence that is the risk of their trade. Later the stormy love affair between Jung ans Spielrein that continued until the spring of 1909 was discussed between them. To what degree the relationship was sexual remains an inclusive subject. Jung eventually ended the affair, to save his marriage and his career. A rumor was maliciously circulated in Vienna and Zurich about an affair he allegedly had with a student. Initially, both Jung and Freud thought Spielrein was the origin of the scandal as an act of revenge against Jung for ending their relationship.

    Together, Jung and Freud plotted against her, later it seems Freud plotted against Jung. The next milestone was a letter from Freud to Jung in October 1911 telling him that Freud had admitted Spielrein in his Psychoanalytic Society (273F).  From that on about 10 letters refer to Spielrein’s publication in the context of an inferior pupil and an afterthought. Both men refer to her as “Die Kleine” with Jung always emphasizing how much work ans support she needs to correct her publications. Freud and Jung mostly share quite destructive criticism of her. In a letter and of march 1912 (F311) Freud  gives Jung a hint that he discussed with Spielrein same “intimate things”  with her (about her relationship with Jung).  After that the tone between Jung and Freud (and vice verso) becomes frosty and only few letter were exchanged.

    The Symbol – history and culture

    We are faced with the peculiar finding of psychoanalysis, the well-founded belief in the healing power of recollection, has been persistently objected in its own historicization.  Handing down of a wrong diagnosis – severely disturbed person with or with out sexual undertones – ensures that in the hagiography of psychoanalysis everything remains the same.

    The recent very Freud friendly movie “A Most Dangerous Method” put her gain in the category “sexual troubled” (not sure if pervert or liberated was suggested) focusing at a shallow relationship  triangle story  – sex sells. The juicy sex scenes seem to be dreamed up totally, as the most explicit you may find in the letters is “writing poems together. The history of psychoanalysis is littered with the discarded psyches of the women whose diagnoses were key to the fame of the great masters. One such woman was Sabina Spielrein.  At least Elisabeth Márton´s film “My name is Sabina Spielrein” relates, re-stages and remembers the tragic story of Spielrein’s life as gleaned from a box of her papers discovered in 1977 in the cellar of Geneva’s former Institute of Psychology.

    Sabina Spielrein, even after her death, fell victim to the severe struggle for affirmation of positions in  hierarchy or political viewpoints. Several years ago a work by Peter Kuter under the title Modern Psychology was published in Germany. The scientist depicted a genealogical tree of the psychoanalytical school and mentioned Sabina Spielrein. Russian scientists were astonished to see that when the book was translated into Russian in 1997 in St.Petersburg, the Spielrein was dropped off the genealogical tree.

    As always, history is the story of the past, told for present purpose, but the purpose stayed. the same and the patient psychoanalysis is not healed.

    Achievements of  Sabina Spielrein

    In 1911, Sabina wonderfully defended a thesis on the subject “On psychology of material on one schizophrenia case”. Sabina Spielrein’s most famous work, “Destruction as the Cause of Coming into Being” (Destruktion als Ursache des Werdens, 1912) . It envisions her neither as a premature Jungian nor as a dissident Freudian, but as what she truly was: an independent theorist whose dialectic of creation and destruction in transformation occupies the intellectual space between Freud’s metapsychology and Jung’s later psychology of individuation and the collective unconscious. Spielrein, a Russian psychoanalyst, argues that creation and destruction are inseparable. Her core insight is that genuine transformation requires the dissolution of an existing form—a law that applies equally across the biological, philosophical, psychological, and symbolical realms. Sabina Spielrein’s November 29 entry presentation to the Vienna Psychoanalytic Society, bearing the working title “Über Transformation,” was a preview of her finalized 1912 paper, “Die Destruktion als Ursache des Werdens”. Her work seems inherently more Jungian than Freudian, at the crucial points, she politely disagreed with Freud—she is Sabina Spielrein. Among her Viennese colleagues, Spielrein’s presentation was therefore met with massive resistance. Freud himself was not yet ready to her ideas; it was not until his 1920 essay, “Beyond the Pleasure Principle,” that he would finally acknowledge Spielrein’s work—misunderstanding and pressing it squarely in his rigid orthodoxy and relegating Spielstein’s work to a mere footnote. He entertained the idea of a strong connection between a new instinct Thanatos and Eros, the instinct of death and the instinct of creation.

    Spielrein has been considered by some as the model for Jung’s concept of the anima. She deepened both Jung and Freud’s understanding of transference and counter-transference. The relationship between Jung and Spielrein  demonstrated that a therapist’s emotions and humanity could not be kept out of the psychoanalytic relationship between analyst and patient. Freud claimed as cold materialist, using science as shield and serious front-end, psychoanalysts would be able to function from an objective and neutral position in their work. C.G. Jung spiraled in the most productive crises after his split, (with Spielrein and Freud),but eventually stabilized  became an accomplished empirical psychoanalyst  and continued to have outside affairs with pupils and colleagues (next  in line was Toni Wolff).

    It is hard to explain the oblivion into which Spielrein fell until recently. Neither Ernest Jones in his standard work on Freud (1953), nor Peter Gay’s magnum opus, Freud (1987), nor even Nancy Chodorow, who wrote on the contribution of women to psychoanalysis (1987), mention her in their writings. Her primary role in child psychology has been wrongly attributed to Anna Freud or, alternatively, to Melanie Klein.

    Despite of that, Spielrein pioneering work in their specialty area child analysis have remained unnoticed. In psychoanalytic reception still Freud’s daughter Anna or Melanie Klein is regarded the founder of child psychoanalysis At this time twenty-five publications of Spielrein were published, ten of them dealing with  child-analytical issues. We must ask ourselves: What forces are at work here and foreclose psychoanalysis from remembering and historicization of their origin mythology?

    The making of a psychoanalyst

    Sabina Spielrein enrolled in the spring of 1905 at the medical faculty of the University of Zurich and rents a room in district, which is called on Zurich « Russian colony ” Although Sabina Spielrein does not need to worry financially, their years of study in Zurich are difficult and overshadowed by her relationship with Jung. It has become more complex , oscillating between therapeutic relationship , idealized teacher – student relationship , friendship and love affairs. In the winter semester 1910/11 Sabina Spielrein concludes the study of medicine. In her dissertation , she examines “the psychological content of a case of schizophrenia ( dementia praecox )”, which was the first psychoanalytic dissertation of a woman. It proves Spielrein linguistic sensibility and talent in capturing and deciphering of unconscious mental processes. The text was published 1911 as first dissertation ever in the ” Yearbook for Psychoanalytical and Psycho-pathological Research ”  .

    The summer semester spends Spielrein in Munich, where she writes here comprehensive meta-psychological speculation. The theme develops a theory that the sex drive consists of two antagonistic components a ” creative” and a ” destructive instinct “. The text ” Destruction as cause of becoming ” will be 1912 also published in the prestigious  Yearbook  side by side with an article of C.G. Jung. Her most famous publication entitled Destruction as the Cause of Coming into Being which mentioned before was published in 1912. Although praise and multiple references to her by C.G. Jung, the article fell with her into obscurity after she moved back to Russia.

    In April 1912 Sabina Spielrein returned to Rostov and married the Russian-Jewish doctor Pawel Naumovich Sheftel, but the couple moved to Berlin , where Sabina gives birth in December 1913 to her first daughter. Shortly after the beginning of  first World War II , we find her again in Zurich and Sabina Spielrein spends her last three years in Switzerland  in Geneva. She published several articles in professional journals and lectures on psychoanalysis and education at the Institute Rousseau and works clinically and makes training analyzes of , among others, Jean Piaget. During World War I, Spielrein continued to live in Switzerland while her husband remained in Russia fighting with his regiment based in Kiev. From 1914 to 1923 Dr. Sheftel had lived with Olga Snitkova with whom he fathered daughter Nina in Russia while married with Sabina who lived and worked in Switzerland

    C.G. Jung and Sabina Spielrein

    In the summer of 1904 her parents sent Sabina to the Burghoelzli mental hospital in Switzerland; the diagnose was mental hysteria (debilitating hysterical/sexual complex). When she was first admitted, Jung described Spielrein as being unable to look anyone in the face, keeping her head bowed and sticking out her tongue ”with every sign of loathing” if anyone touched her. Attacks of depression alternated with weeping, laughing and screaming. The eighteen year old girl Sabina Spielrein and a thirty year old unknown doctor C. G. Jung started as of a patient-doctor relationship with a powerful transference and counter-transference between Spielrein and Jung. Jung was troubled by the strong emotions his former patient stirred in him and sought out advice on the matter from Freud, thus beginning their correspondence and relationship. Being convinced of the ideas of Sigmund Freud, he applied methods of the psychoanalyst from Vienna on Sabina for the first time. Jung described success of medical treatment of the young Russian girl with usage of these methods in letters to his friend and teacher.

    Jung didn’t conceal the fact that Sabina fell in love with him (it is frequent in medical practice when female patients attribute features of a hero, father or God on their doctors). He wrote, the girl “sincerely” told she wanted to give birth to his son whom she wanted to name Siegfried. The liaison between Sabina Spielrein and Carl Gustav Jung lasted for five years. It may be that these relations turned out to be some kind of a catalyst for C.G. Jung scientific development and luring Sabina Spielrein away from Jung. Freud wrote to Sabina: “We will be happy to meet you even further if you wish to stay with us, but you must learn to discern the difference between friends and enemies (I mean Jung).”

    The medical treatment went successfully. In a year Sabina felt perfectly well, and the head physician of the clinic and boss of C.G. Jung, famous psychiatrist Eugen Bleuler allowed Jung to let his patient to enroll at the Zurich University medical school for studies.

    Letters between Spielrein and C.G. Jung

    For years Spielrein moved endlessly, seemingly incapable of settling anywhere or with anyone. Meanwhile, says Kerr, ‘Jung was busy making her immortal.’ In the years following the First World War, Jung developed a means of categorizing the conscious. He invested the Anima with all sorts of qualities, some exhilarating and some dangerous which, Jung wrote, he’d recognized in ‘a woman… a patient, a talented psychopath who had become a living figure in my mind’. Jung’s Anima model was Sabina Spielrein.

    Spielrein corresponded with Jung until at least 1919 and with Freud until 1923. The published letters cover the years 1911 to 1918 with forty six letters from Jung (only quoted unfortunately not released) and twelve of Spielrein. The topics are strictly of psychoanalytical content.

    Jung was married with two children, and it is clear that his relationship with Spielrein was inappropriately intimate (whether it was sexual or not is not proven).  Jung and Spielrein’s letters discussed theory at length. Just as Jung and Freud became increasingly distrustful of each other and possessive of their ideas, so too did Jung and Spielrein.

    When he read her university dissertation on schizophrenia Jung told her, ‘I am surprised by the abundance of excellent thoughts, which anticipate various ideas of my own. But it is good that others see things the same way as I do.’

    He commented on to her next paper, ‘Destruction as a Cause of Coming into Being’ (written immediately after she graduated with top honors),  ‘As I read your paper I find uncanny parallels with my own new work.’  Spielrein clearly exploded, for his next letter exclaims, ‘You are upsetting yourself unnecessarily again!’ His reassurance that, ‘your study is extraordinarily intelligent and contains splendid ideas whose priority I am happy to acknowledge as yours,’ is undercut by his assertion that, ‘I express myself so differently from you in my work that no one could imagine you had borrowed from me.’

    Sigmund Freud and Sabina Spielrein

    Spielrein also sought help from Freud, initially requesting a consultation with him in 1909, but Freud declined due to his discussions with Jung about his relationship with Spielrein. Spielrein eventually met Freud in Vienna in October 1911. He was greatly impressed with her.

    In autumn 1911 leaves Zurich and moves to Vienna to work with Sigmund Freud. Spielrein became an elected member of the Vienna Psychoanalytic Society. She is now twenty-five. The minutes of the club meetings show that they vividly involved in the discussions and lectures. Freud earns to appreciate and even sends her patients. There has always been a question about the extent of the relationship between Freud and Spielrein on many levels, and also about just how much of her work Freud may have adopted as his own, giving her little or no credit. Dr. Spielrein’s life ended in obscurity when she was only 55, Freud continued to increase in stature and reputation.

    At that time, Freud listened to the report of the young psychoanalyst indulgently and said the speech was “logically well-composed”. Only in several years, he himself expressed the dual theory of attractions; at that he didn’t refer to Spielrein’s report delivered in 1911, that anticipated Freud’s later ideas of attraction to death. In 1930, when Freud once again mentioned his former resistance to the theory of attractions, not a single word was said that criticism of that kind was given in response to Sabina Spielrein’s article.

    Letters between Spielrein and Sigmund Freud

    The published letters cover the years 1909 to 1920 with twenty letters from Freud (fortunately included) and two of Spielrein. The first May 30th 1909 reads like a job application. The next is already an request to mediate between her and C.G. Jung. The last fragments talks about her about “declaring her self to “our (Psychoanalytical) Society” a “treachery which Dr. J. cannot forgive”. She first wrote to Sigmund Freud in 1909, met him in 1911 in Vienna, and continued meeting and corresponding with him at least until 1923, to some eventually developing into more of Freudian than a Jungian in her work.

    A women which wants to make it, has an affair with her analyst which happens to be also important for her psychoanalytic career. She consults 1909 another analyst – which happens to be the psychoanalytic father disappointed from his heir – to help sort out her ensuing problems. A tricky situation, for the analysts even and especially if the analysts were Jung and Freud in a love hate relationship. Spielrein continued to correspond also with Jung and Freud during this time, despite the destructive split that occurred between the two men in 1912.

    In a 1909 letter to Freud she writes: ”Four and a half years ago Dr. Jung was my doctor, then be became my friend and finally my ‘poet,’ i.e., my beloved. Eventually he came to me and things went as they usually do with ‘poetry.’ He preached polygamy; his wife was supposed to have no objection, etc., etc.” By 1909 Jung was trying to separate from her emotionally but continued to see her and gave her help with her dissertation. In 1910 Spielrein records that at one time Jung gave her his diary to read and said that no one else could understand him so well as she did. Then he abruptly alters his tone, addresses her formally in letters and signs himself ”Dr. Jung.” Spielrein confides in her mother, who has received an anonymous letter which says that Jung is ruining her daughter. Her mother writes to Jung, to whom she is obviously grateful for the great improvement in her daughter’s condition, begging him ”not to exceed the bounds of friendship.” Jung writes back an appalling letter.

    Spielrein then writes to Freud asking to see him. As usual, Freud behaves outwardly correct. He writes to Jung requesting information. Jung reveals that Spielrein is a patient about whom Freud knows something already, since not only was she the subject of a lecture given by Jung in Amsterdam but she was also the person referred to in an earlier letter to Freud in which Jung complained that a woman patient had ”kicked up a vile scandal solely because I denied myself the pleasure of giving her a child.” Jung goes on, ”I have always acted the gentleman towards her, but before the bar of my rather too sensitive conscience I don’t feel clean. …” In a subsequent letter, Jung reveals that he has seen Spielrein again, that she was not the author of the rumors he had attributed to her and that he himself was to blame, not only for encouraging her but also for trying to defend himself ”in a manner that cannot be justified morally.’

    The Freudian Case against Spielrein

    The reappearance of Spielrein ‘s diaries, letters and  scientific publications in the eighties were not taken on by the Freudian psychoanalysis as kick-off to revitalize memory. Rather, Spielrein was subsequently honored with a distorted, one-sided form diagnosis  of severe mental disorder , a psychotic who broke with reality. Aldo Carotenuto called it ” veritable schizophrenic episode ,” Bruno Bettelheim a ” schizophrenic disorder ” or a ” severe hysteria with schizoid features ” ; Max Day spoke of ” borderline “. Happily Freudian took C.G. Jung (!) as witness , who presented the “Case Spielrein” at the International Congress of Psychiatry and Neurology in 1907 in Amsterdam.

    A closer look shows that Sabina was not the lunatic ill patient not, as today’s analyst – about Carotenuto, Bruno Bettelheim or Max Day – want to make us believe. Sabina has been able to exploit the situation in Burghoelzli and developed a perspective that suited their preferences and their talent. So Jung and Spielrein got over a rapidly developing crisis. Soon after she sits  – herself still patient – on the doctors table, participating in the clinic’s health studies and deals with diagnosis. It shows a remarkable success of Jung’s theory and practice – and that some very gifted psychoanalyst have crises on her own. C.G. Jung was smart enough to forbid the document of his crisis during lifetime, probably aware of the dangers of an “vicious psychoanalytical community” as a friend of mine, a Jungian psychoanalyst, liked to refer to both psychoanalytic schools.

    Conflicts of and between Sigmund Freud and C.G. Jung

    Sigmund Freud and C. G. Jung  began  to correspond with each other in April 1906. During the next seven years they corresponded regularly, usually at intervals of a few days. This extensive correspondence of approximately 360 letters  has been published 1974  for the first time. The  Freud–Jung relationship dominated the history of the psychoanalytic movement, until relations were finally severed early in 1912. If you read their published correspondence today, it is impossible to distinguish issues of passionate friendship, academic rivalry and theoretical conflict in their relationship. Freud was explicitly looking for a son and heir for the psychoanalytic movement. Jung seemed both to be seeking a father figure for his psychic security but soon rebelled against him.

    The major Player- Jung, Salome, Elijah
    The major players in the Red Book- Jung, Salome, Elijah

    After years of exchange differences between Jung and Freud became increasingly evident 1912. Besides the professional dissent the conflict comes to a head until the opposites finally be unbridgeable. It is exciting to witness based on the selected documents the inevitable entanglement to its tragic failure. As with the correspondence between Spielrein, Freud and Jung the correspondence between Jung and Freud has become essential to understanding the evolution of psychoanalysis – and the virtually insurmountable challenges facing woman who sought to contribute in any role other than that of patient, pupil, wife, daughter, lover or groupie with or without scientific credentials. But also the vicious underpinnings of the “publish an perish” science. Both man belittled Sabina Spielrein and she after she switched sides, Spielrein became dangerous to Jung and was used by Freud. 

    For Jung, Spielrein’s company as patient, pupil and lover in those days may have triggered partially his career breakthrough but surely may have led breaking away from Freud. In “Memories, Dreams, Reflections”, Jung seemed to indicate that all his most important insights stemmed from his unconscious fantasies in the years 1913–18 during his creative illness after the break with Freud and Sabina Spielrein. The overlay with letters from Spielrein show remarkable ambitious women and her undeniable talents consciously or unconsciously deepened the conflict between the two alpha men.

    By taking her in the Freudians effectively “owned” the scandal and utilized the narrative of Jung’s boundary violation to paint him as unprincipled, unprofessional, and psychologically unhinged, using Spielrein’s past trauma as ammunition in their corporate war against Swiss Analytical Psychology. Once the Freudians had used Spielrein to damage Jung’s reputation, they took advantage of her intellectually and then erased her from the history books. In 1920, Freud published Beyond the Pleasure Principle, introducing the “Death Instinct” (Thanatos). He relegated Spielrein—the woman who had introduced this exact concept to him in 1911—to a brief, dismissive footnote, claiming her ideas were too closely tied to her own “neurotic complexes”.

    Its pure speculation, but I could envision both men were happy when she left Switzerland and was no trouble anymore. If so, for very different reasons.

    Certainly, at this point, his former patient Toni Wolff became a necessary substitute to C.G. Jung.  Toni Wolff became the established mistress and important collaborator. During this crises  Jung created the Red Book, published posthumous much later, which was to together with the Seven Sermons to the Dead, the seed of his work. Jung was plagued by visions of blood, an underground river with a blond male corpse, a scarab, a red new sun in the prelude to the First World War. A brown-skinned man  told him to kill the hero, Siegfried. A fantasy figures of Elijah accompanied by a young girl, Salome taught him about the importance of the unconscious. A number of studies have noticed what is pretty evident if you study the Red book, that, in Elijah and Salome, he had versions of the two important people he had just lost, Freud and Sabina Spielrein.

    For Spielrein the separation has been a disaster which has still has consequences today.
    Sigmund Freud safely managed his institutional legacy from Vienna and London. Anna Freud inherited his empire. Meanwhile, the woman who provided the raw intellectual architecture for their most famous late-stage theories was sent away which turned into harms way, her papers left rotting in a Geneva basement for over half a century.

    Spielrein was the first to systematically analyze young children’s speech, play, and developmental cycles. After Spielrein was safely isolated in Russia, Anna Freud stepped into the Western vacuum, published heavily on child psychology using virtually identical clinical frameworks, and was crowned the “mother of child psychoanalysis”—effectively absorbing Spielrein’s life’s work without giving her due historical credit.

    Sabina Spielrein in Russia after 1923

    Sabina would have made a wonderful career if she had made it there stayed in Europe.  But on recommendation of Sigmund Freud, Sabina Spielrein got back to Russia. For 1.5 years she lived in Moscow, then she moved to Rostov, where she lectured at the University and worked as a doctor.

    Only few in the Russia or her hometown Rostov on Don, where Sabina was born, studied and later perished, know details of her private life and scientific activity. The woman is still a mystery, even now and despite the fact she always involved with public figures  as friends, doctors or teachers.

    Freudian bloom

    Sabina Spielrein
    Sabina Spielrein

    In 1923, yielding to calls from parents, brothers and husband, as well as to Freud’s urging her “to accomplish important work at the side of Wulff and Ermakov” in Moscow, she returned to Russia.

    In spite of the mantle of Freud and successes in Moscow, e.g., lecturing and teaching at the State Psychoanalytic Institute, as head of the section on child psychology at Moscow University and had an appointment at the State Psychoanalytic Institute and co-worker at the State Children’s Home and Laboratory “International Solidarity,” Spielein abruptly returned to Rostovand reconciled with her husband Sheftel  in 1924 and in June 1926 their second daughter Eva was born. The Bolsheviks printed Freud’s writings. Under patronage of Trotsky, the Russian psychoanalysis (strictly speaking Freudian) experienced at the beginning of the twenties a short bloom. The Bolshevik revolution, already ruthless by Lenin’s design, succumbed after Lenin’s death to evil and inhuman Stalin. Under his rule, the USSR degenerated into a brutal tyranny of its own, aptly symbolized in George Orwell’s book “Animal Farm”.  After the intellectual flamboyant Leon Trotsky (chosen by Lenin as his successor) had to emigrate to Mexico, all intellectuals in the Soviet Union were in great danger. Trotsky was killed 1938 with an ice pick by a Stalinist agent, in Mexico-City. Intellectuals, who stayed, had either to adapt totally and opportunistically or perish in a niche. After 1925, when Stalin began repressing psychoanalysis, would have been risky. Spielrein worked as school medical psychologist. Spielrein must have chosen the latter, she moved from Moscow for Rostov on Don, from then on working mostly practical-therapeutic.

    Recently discovered personal information sheet of the Soviet People’s Commissariat of National Education , ” Narkompros ” , confirm that Spielrein had from September 1923 three appointments: as a research assistant at the State Psychoanalytic Institute in Moscow, as pedagogical doctor in the town of the Third International (a type of children’s village ) as well as Head of the Section of child psychology at the First Moscow University. In Moscow Spielrein founded together with Ivan Ermakov Dimitrievitch and Moshe Wulff, the first Institute for Psychoanalysis in the Soviet Union. It was also the first state psychoanalytic training institute in the world.  1921-1924 of the Psychoanalytic Institute experiments were performed with liberal collective education in early childhood in the orphanage Laboratory, which served the ’68 movement as a model for their sexually charged socialist children shops.

    Communist Terror

    Sabina Spielrein’s clinical work was directly caught in the crossfires of the lethal political war between Joseph Stalin and Leon Trotsky. In the early 1920s, Leon Trotsky was the premier champion of psychoanalysis in the USSR. Trotsky believed that Sigmund Freud’s theories could be synthesized with Marxism to forge the “New Soviet Man.” He personally funded and protected the State Psychoanalytic Institute and the Moscow “White Kindergarten” (Detski Dom). Then psychoanalysis in the Soviet Union became prohibited.

    Because Trotsky had explicitly sponsored these institutions, psychoanalysis became deeply branded as a “Trotskyite deviation.” When Stalin consolidated power and exiled Trotsky, he systematically liquidated everything his rival had touched. Spielrein brothers had become successful scientists and became in the cross hair just by indirect association.

    Following the collapse of the Soviet Union in 1991, the opening of the [KGB/NKVD archives] confirmed the chilling, bureaucratic precision with which Stalin’s apparatus liquidated Sabina Spielrein’s brilliant family. Her three brothers were leading Soviet intellectuals, and their files in the Declassified NKVD Execution Archives reveal a textbook operation of the Great Terror of the late thirties:

    1. Isaak Spielrein (Arrested 1935, Executed 1937)

    Isaak was a world-renowned psychological genius who founded the Soviet field of Psychotechnics (the psychology of industrial labor).

    • The Charge: Because his scientific work in the 1920s had been praised, utilized, and personally funded by Leon Trotsky, the NKVD targeted him the moment Trotsky was exiled. Declassified files show he was arrested in January 1935 under the fabricated charge of being a leader in a “Trotskyite-Zinovievite Counter-Revolutionary Terrorist Organization.”
    • The Execution: After two years of brutal psychological isolation, he was sentenced to death by the Military Collegium of the Supreme Court of the USSR. NKVD records show he was shot on December 26, 1937, and buried in a mass grave at the infamous Kommunarka firing range outside Moscow.

    2. Jan Spielrein (Arrested 1937, Executed 1938)

    Jan was a brilliant mathematician, physicist, and a member of the USSR Academy of Sciences. He was completely apolitical, dedicated entirely to engineering and electrification.

    • The Charge: Under Stalin’s paranoiac directives, simply having a brother who was labeled a “Trotskyite spy” made Jan an immediate target of the NKVD’s group-guilt quotas. He was arrested in 1937 on charges of espionage and sabotage of Soviet technical infrastructure.
    • The Execution: Declassified court logs reveal his trial lasted less than fifteen minutes. He was found guilty without defense counsel and shot on January 21, 1938.

    3. Emil Spielrein (Arrested 1937, Executed 1938)

    Emil was a respected biologist and the Dean of the Faculty of Natural Sciences at Rostov State University.

    • The Charge: Like his brothers, his proximity to Western scientific circles and his family name sealed his fate. He was arrested during the sweeping purges of the regional academic elite in 1937.
    • The Execution: He was convicted of counter-revolutionary propaganda and shot on June 20, 1938.

    The declassified files show that by mid-1938, Sabina Spielrein was left entirely alone, her family utterly decimated by the Soviet state. The state officially stripped her of her medical licenses and academic titles because she was the sister of three “enemies of the people.”

    This explains why she was forced into deep poverty, working as a marginalized music teacher in Rostov-on-Don. She survived Stalin’s NKVD only to be caught in the path of Hitler’s SS Einsatzgruppe four years later—a tragic, perfect illustration of Jung’s warning that when human beings lose their connection to individual morality, the totalitarian state functions as a meat-grinder

     It was a hard life, Sabina aged rapidly, a bent woman, wearing old-fashioned clothes and shoes. The husband died of a heart attack in 1937. Thereafter Spielrein made a friendship pact with Olga Snitkova to take care of each other’s children in case one predeceased the other.
    .

    The many deaths of Sabina Spielrein –  unreliable sources

    Aldo Carotenuto assumed 1982 in his book “Secret Symmetry” Spielrein’s death year around 1937 which would connect hers to the fate of her brothers. Spielrein’s death may remains a mystery to me at least in the web – which comes up with three dates for her death but no real proof.

    • According to many web articles “Swedish journalist M. Ljunggren”, had discovered her fate. I have found no primary sources for this on the web yet. I did find a David Ljunggren, a journalist who speaks English, French, Russian and was stationed from 1989 to 1995 in Moscow where he covered the collapse of the Soviet Union.
    • In the book, “Sabina Spielrein: Forgotten Pioneer of Psychoanalysis” it is written that Dr. Ljunggren supposedly brought evidence that she was killed 1941 – which would be during the first occupation which lasted only eight days.
    • There is indeed a Magnus (M) Ljunggren, who professor for Russian literature. In the book of Andre Karger / Christoph Weismüller (Editors) “Ich hieß Sabina Spielrein – Von einer, die auszog, Heilung zu suchen” he contibuted a chapter about Sabina und Isaak Spielrein.

    However, the only base (and a credible one too) of all those repeated net claims seems to come from Henry Zvi Lothane or Henry Lothane,  a clinical professor of Psychiatry, at Mount Sinai Hospital in New York. He wrote in a short paper that the wive and  Isaak’s wife and daughter Menikha survived in Central Asia. According to him  Menikha Isaakovna a physiologist and biochemist, was discovered in 1982 in Moscow by the Swede Magnus Ljunggren. Menikha Isaakovn had a perfect command of German. Henry Zvi Lothan quotes now a letter of Menikha Isaakovna in 1994:

    “In November 1937 I decided to travel to Rostov, to my grandfather. Sabina asked me whether I believed what was being written in our newspapers about the cruelties perpetrated by Germans. She added, she had lived for many years in Germany and could not believe what is being printed in our newspapers, since she knows the high level of the German culture, of the people who gave the world Goethe, Heine, Schiller and many well known and outstanding people. I told her that I believe what was written about the Germans, I told us many stories and gave us underground literature from Germany, publications with descriptions of Nazi crimes. Obviously, I was unable to convince her. Cut off from contacts with the West, Spielrein did not know what was going on in Germany nor was she aware of Jung’s boundless admiration for the Nazis, inspired by Hitler’s Mein Kampf, aired on Radio Berlin in 1933.

    The first occupation of Rostov during WW II lasted for 8 days in November of 1941 whereupon the Germans were repulsed by the Red Army. On July 27 1942 the Germans reoccupied the city. Last time Spielrein was seen in August marching with her daughters in a long column of some 27,000 Jews towards the immense Zmeyovskaia ravine, on the outskirts of Rostov: all were gunned down and thrown into the mass grave, where a museum now stands. Some commentators saw in Spielrein’s staying there as acting out her death instinct, a case of wild analysis, trivializing her martyrdom. In the hospital she wrote her last will: on her grave an oak be planted in her memory with a sign “I was once a human being and my name was Sabina Spielrein” while another inscription read: “And let young life play at the entrance of the tomb and let indifferent nature shine with outer splendor”.

    In any case, of all the quotes about Spielrein’s death in her many historizations, Henry Zvi Lothan’s quote seem genuine and plausible, but it has to be noted, it reads like second or even third hearsay of an unknown source. There is a gap – Menikha seems not have stayed in Rostov between 1937 and 1942.

    Spielrein’s Notes vs. Rigid Marxist Pedagogy

    The Moscow “White Kindergarten” (founded by Vera Schmidt, with Spielrein as its chief clinician) was closed by the state because its psychological findings flatly contradicted the rigid, mechanical dogma of Marxist pedagogy.


    Sabina Spielrein’s Clinical Approach vs. Marxist Pedagogy
    Human Nature
    Driven by complex, autonomous, internal forces (the unconscious, ancestral archetypes, and deep biological drives).
    A tabula rasa (blank slate); human beings have no innate psychology and are shaped entirely by material conditions and state conditioning.
    Child Development
    Children process the world dynamically through individual play, speech, fantasies, and working through internal conflicts.
    Children must be collectively conditioned into a productive, standardized labor resource for the state.
    Authority & Growth
    Strict, authoritarian suppression forces natural drives to mutate into destructive complexes or severe neuroses.
    Total, unyielding collective discipline is mandatory; individual deviation is a bourgeois defect.
    The “New Soviet Man”
    Can only be achieved through deep self-awareness, emotional liberation, and psychological healing.
    Is manufactured by the state through rigorous political indoctrination and physical labor.

    The Clash of Clinical Reality

    Spielrein’s actual clinical notes from this period show that she observed children acting out, displaying sexual curiosity, and expressing deeply ingrained aggressive impulses (her concept of the destruction drive).

    To the Bolshevik state post Trotsky , these clinical notes were offensive heresy. Marxist pedagogy demanded that children be treated as purely rational, malleable cogs. If a child was aggressive or unstable, the state did not want a therapist investigating their subconscious; they blamed it on “corrupt bourgeois parenting.”

    By the late 1920s, Stalinist officials launched a vicious campaign against pedology (child psychology). They condemned the White Kindergarten as a “perverted, bourgeois, psychoanalytic distortion” that over-emphasized sexuality and individuality over class solidarity. The school was shut down, psychoanalysis was completely banned, and Spielrein’s life’s work was locked away in state archives.


    The intersections of her life show how terrifyingly accurate Jung’s warnings were: when the state becomes a dogmatic religion, it hunts down the scientists of the soul.

    How Lev Vygotsky Secretly Saved Spielrein’s Insights

    During Spielrein’s time in Moscow, both Alexander Luria and Lev Vygotsky came to work at the Psychoanalytic Institute and “Dyetski Dom” and studied with her. Spielrein’s method combining subjective psychological ideas from psychoanalysis with objective observational research of children is likely to have been an important influence on them. When Joseph Stalin officially banned psychoanalysis, pedology, and child psychology in the late 1920s, scholars who referenced Sigmund Freud or Carl Jung faced exile or execution. Lev Vygotsky (the father of Soviet developmental psychology) and his colleague Alexander Luria realized that Sabina Spielrein’s brilliant clinical discoveries would be destroyed if they remained attached to her name or to psychoanalysis.

    To preserve her life’s work, Vygotsky acted as an intellectual smuggler, stripping her theories of their “bourgeois psychoanalytic” vocabulary and translating them into standard Marxist, materialist language:

    • The Translation of “The Unconscious” into “Inner Speech”: Spielrein was the absolute pioneer of studying child language, tracking how a child’s private babble or fantasies reflect internal, unconscious needs. Vygotsky took this exact data and re-labeled it “Inner Speech” in his famous Cultural-Historical Theory. He argued that a child talking to themselves isn’t acting out deep Freudian drives, but is rather using a tool to internalize social language. This semantic shift allowed her clinical data to survive Soviet censorship.
    • The “Missing Link” Between Piaget and Vygotsky: Spielrein had psychoanalyzed a young Jean Piaget in Geneva before working with Vygotsky in Moscow. She discovered that children’s thoughts develop through a dialectical tension between individual biology and social interaction. Vygotsky leveraged Spielrein’s intimate knowledge of Piaget to construct his own famous critiques of Piaget’s work, essentially using Spielrein’s mind as the silent bridge for his own theories.
    • Submerging the Individual into the Social: Spielrein pioneered the idea that language is inherently relational—a tool to connect the self to another. Vygotsky absorbed this, stating that all higher mental functions originate as social interactions. By scrubbing the psychoanalytic focus on individual neurosis and framing it as a socio-cultural process, Vygotsky successfully hid her foundational concepts inside the bedrock of Soviet education.

    Because Vygotsky safely hid these ideas inside state-approved textbooks, her core concepts outlived Stalinism and eventually shaped global educational structures—even though Vygotsky himself never dared to cite her name in his late works out of sheer terror for his own life.

    Fascist Terror

    It is very possible even beyond doubt, that Sabina Spielrein met a tragic end in her hometown 1942. As a strategic bridgehead, Rostov suffered in World War II  twice the occupation by the German Wehrmacht. It is a fact, that when Hitler’s troops conquered the strategic city on 27 July 1942 the second time, tens of thousands of civilians were killed. According to repeated copy cat web entries Sabina Spielrein was last seen by neighbors in the summer of 1942 , supported by her two daughters, Renata and Eva, in a group of Jews. It is another fact, that during the occupation civilians and captured Red Army commissars were driven through the streets to the outskirts ; there, in the deep gorge that is called Zmiyevskaya Balka (the Snake Gully) they were killed by men of command 10a from the “Einsatzgruppe D”. Mainly consisting of Security Police and the SD (Sicherheitsdienst) as well as Gestapo, this special non-military forces were mobile and partly stationary ideologically trained mass murders, reporting directly to  SS leader Heinrich Himmler.  In accordance with different sources, there are 18-27 thousand people in that common grave, and each of them was with his individual story. Sabina Spielrein with her daughters Renata, 29, a talented cellist, and Eva, 14, who could have become a wonderful violinist shared this fate. Her husband had died a few years earlier..

    It has been also said  that in the years after the first occupation of Rostov, that even in 1941 Sabina Spielrein refused to leave the native city or to hide.  She explained the decision not to leave Rostov to the second wife of her husband. Before the war, the abandoned women understood perfectly well that each of them may be sent to the Soviet GULAG camps, that is why they agreed that the one who remains alive will bring up all children.Scientist Movshovich studying history of the Rostov region wrote: “By the time of the second occupation of Rostov, Spielrein very likely had already no illusions anymore”. However, all the same she refused to save her daughters: a friend of Sabina’s offered to give forged documents to the girls as they could have passed for Armenians. It is a mystery why Sabina Spielrein several times rejected methods of salvation.

    How does Russia sees Sabina Spielrein’s work today?

    The answer is a fascinating, deeply complicated paradox. It split cleanly between a localized, academic cultural pride and a broader state ideological friction.

    The Rostov Revival

    On a regional and civic level, there has been a remarkable, grassroots effort to reclaim Spielrein as a great Russian intellectual hero. This is a dramatic reversal from the Soviet era, when she and her work were completely erased.

    • The Spielrein Mansion Museum: In 2015, an official Sabina Spielrein Memorial Museum was opened inside her childhood home on Pushkinskaya Street in Rostov-on-Don. It features a permanent exhibition of her photographs, personal belongings, and a plaque honoring her as a “famous student of C.G. Jung and S. Freud”.
    • Immersive Tourism: Local historians and theater groups have developed immersive tours (like “The Forgotten Drama of the Spielrein House”) celebrating her life. In the Russian south, she is viewed as a brilliant, homegrown pioneer of global science.
    • Holocaust Memory: Her tragic murder, along with her daughters, at Zmievskaya Balka (the “Snake Gully”) in 1942 is recognized in Russia as part of the tragedy of the Great Patriotic War, anchoring her legacy to the national memory of overcoming Nazi occupation.

    The Academic Re-evaluation: Claiming Vygotsky and Luria

    In Russian academic circles (specifically psychology and neuroscience departments at Moscow State University), there is an ongoing effort to correct the historical record.

    • Russian scholars are increasingly highlighting how Spielrein’s “White Kindergarten” and her lectures in the 1920s directly shaped Lev Vygotsky (the father of Soviet developmental psychology) and Alexander Luria (the founder of modern neuropsychology).
    • By proving that Vygotsky and Luria integrated Spielrein’s ideas on child language and developmental psychology, Russian academia uses her to claim that the foundations of modern developmental psychology are fundamentally rooted in Russian/Soviet soil, rather than being purely Western exports.

    Despite this local pride, Spielrein’s actual core theories face a silent, structural glass barrier under Russia’s current ideological framework.

    • The Problem of Her Core Framework: Spielrein was a pioneer of feminist psychology and early psychoanalysis—frameworks that look directly at individual trauma, unconscious desires, and sexual dynamics. Classical psychoanalysis is still subtly viewed through a conservative state lens as a Western, hyper-individualistic, and socially corrosive philosophy.
    • The Suppression of Memory Archives: While Spielrein the person is honored, the systematic study of how she and her family were destroyed by the state is highly sensitive. Her three brilliant brothers were executed in Stalin’s Great Purge. Organizations like Memorial (the NGO dedicated to documenting Stalinist crimes), which actively unearthed the fates of families like the Spielreins, have been banned and criminalized in Russia. Therefore, Russia certainly honors her death at the hands of the Nazis, but heavily softens her persecution by the Soviet state.

    The Core Translation of Her Work

    In essence, modern Russia views Spielrein much like a museum artifact: she is celebrated as a “Great Russian Mind” who competed with and influenced the giants of the West (Jung and Freud). However, the radical, individual-liberating substance of her psychological theories remains largely unintegrated into the broader, state-sanctioned cultural narrative. She has been claimed by Russian history, but her deepest warnings—much like Jung’s and Arendt’s—are kept safely inside the glass case

    Sabina Spielrein in psychoanalytic history

    Compared to other sciences and professions, psychoanalysis appears quite open to the participation of women. This is especially true for the early period, as the way of the role of the analys and to the profession of psychoanalyst not very far and not once was unusual. In the history of psychoanalysis is Sabina Spielrein, however vain. In Ernest Jones’ standard work “Sigmund Freud” (1953) she is not recognized; in Peter Gay’s magnum opus, “Freud” (1987) she is only briefly mentioned in the context of Freud’s concept of the death instinct. Nancy Chodorow, dealing at least with the “contribution of women to the psychoanalytic movement and Theory” (1987), forgets her completely. Ellay Zaretskey drops her name four times, with Jung having a affair, together with Piage, as female psychoanalyst in Russia and one sentence about her death (without date and source).  The more the writer is leaning toward Freud, the more she is deliberately minimized, it seems. Almost like zhis is an act of repression, which is well-known defense mechanism according to Freud. Repression acts to keep information out of conscious awareness. However, as always memories about Spielrein don’t just disappear; they continue to influence the behavior of the psychoanalytic scene. Maybe they this consciously by forcing the unwanted information out of our awareness, which is known as suppression which is most likely. The last movie, “A Dangerous Method”,  makes  a romantic soft porn out of her story. After that movie many articles came up, but nobody seem to value her publications or even bother to read them.

    Conclusion

    There are many parts of Sabina Spielrein’s life that remain a mystery and there is continued controversy regarding specific dates and activities in her life .  She faced many obstacles, both because she was a woman working in a predominantly male profession and because she was Jewish during a period of violent antisemitism. Not only her tragic death cut short a life of promise, but it also seems even more her decision to move to the Freudian branch, which has been connected to the political left. Lured by the false promises of revolutionary  communism to Russian intellectuals  and her subsequent relocation to the USSR maybe by bad advice,  silenced her voice and relieved the scientific community of an inconvenient and outspoken competition.

    The psychoanalytic concept of repression is based on the axiom that an earlier event A suppressed by a later event B. Thus, event A obtains new meaning and now unfolds pathogenic effect. For this operation, the concept of ” deferred action ” was coined. The question of the displacement can be applied to the history of psychoanalysis itself. One could say: First, Sabina Spielrein was forgotten. There were plenty of reasons. She reminded the psychoanalytic movement inevitably on the traumatic break between Freud and Jung in 1913. Spielrein was also an independent and rather odd person who did not allow academic mandarins clamp their interests on her. She repeatedly kicked the structures of alpha males (and their coterie). She did not (want to) understand the rules of international psychoanalytic association, and with regard to questions of scientific priority did not bother with dangerous rivalries like Freud’s daughter Anna. As a ‘free electron’, she didn’t make it in the Western entrenched structures and moved to the even more dangerous settings of the aftermath of the Bolshevik revolution. Sabina Spielrein, even after her death, fell again victim to the severe struggle for affirmation of positions in psychoanalytical hierarchy or political viewpoints.

    Bibliography

    • Carotenuto, Aldo. A Secret Symmetry: Sabina Spielrein Between Jung and Freud. New York: 1982.
    • Kerr, John. A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein. New York: 1993.
    • Spielreins’s doctoral thesis and her famous publication “Die Destruktion als Ursache des Werdens” Jahrbuch für psychoanalytische und psychopathologische Forschungen IV. Band 1912 (JdP_IV_1912_1_SpielreinJung).
    • Sigmund Freud, Carl Gustav Jung Briefwechsel Freud / Jung Fischer Verlag 1974 (also available by Princeton University Press)
    • Henry Zvi Lothane, MD The real story of Sabina Spielrein: or fantasies vs. facts of a life
    • Karen Hall, Sabina Spielrein in the Jewish Women’s Archive
    • Ellay Zaretskey, Secrets of the Soul New York: 2004
    • Sabina Spielrein’s, “Destruction as the Cause of Coming into Being” – transformation as destruction for creation

    Selected Works

    Spielrein published thirty psychoanalytic papers in French and German. The majority of them have not yet been translated into English. Her two most significant works were her dissertation on schizophrenia, which contributed greatly to understanding the language of schizophrenics, and her second work, “Destruction as the Cause of Coming into Being”. Sabina Spielrein’s 1912 work, “Destruction as the Cause of Coming Into Being,” offers a profound, predictive framework for understanding collective, destructive, and renewal cycles . Her writings, which argue that “species-psyche” prioritizes collective transformation over individual ego, can be accessed through the Aphelis Archival PDF and Wiley Online Library. Furthermore, her correspondence with C.G. Jung, detailing the storage and activation of historical trauma in populations, is analyzed in SciELO. A comprehensive list of her publications is available through the Spielrein Association.

    As you can see after her reconciliation with her husband 1923 in Russia she wrote only one more paper.

    • “Über den psychologischen Inhalt eines Falles von Schizophrenie (Dementia Praecox).” Jahrbuch für psychoanalytische und psychopathologische Forschungen (1912): 3:329–400;
    • “Die Destruktion als Ursache des Werdens.” Johrbuch für psychoanalytische und psychopathologische Forschungen (1912) 4:465–503;
    • “Beiträge zur Kenntnis der Kindlichen Seele.” Zentralblatt für Psychoanalyse und Psychotherapie (1912) 3:57–72;
    • “Mutterliebe.” Imago (1912) 2:523–24; “Selbstbefriedigung in Fusssymbolik.” Zentralblatt für Psychoanalyse und Psychotherapie (1913) 3:263;
    • “Traum vom Vater Freudenreich.” Internationale Zeitschrift für ärztliche Psychotherapie (1913) 1:484–486;
    • “Das unbewusste Träumen in Kuprins Zweikampf.” Imago (1913) 2:524–525; “Die Schwiegermutter.” Imago (1913) 2:589–591:
    • “Der vergessene Name.” Internationale Zeitschrift für ärztliche Psychoanalyse (1914) 2:383–384;
    • “Tiersymbolik and Phobie bei einem Knaben.” Internationale Zeitschrift für ärztliche Psychoanalyse (1914) 2:375–377;
    • “Zwei Mensesträume.” Internationale Zeitschrift für ärztliche Psychoanalyse (1914) 2:32–34;
    • “Ein unbewusster Richterspruch.” Internationale Zeitschrift für ärztliche Psychoanalyse (1915) 3:350;
    • “Die Äusserungen des Oedipuskomplexes im Kindersalter.” Internationale Zeitschrift für ärztliche Psychoanalyse (1916) 1:44–48;
    • “Das Schamgefühl bei Kindern.”Internationale Zeitschrift für ärztliche Psychoanalyse (1920) 6:157–158;
    • “Zur Frage der Entstehung und Entwicklung der Lautsprache.” Internationale Zeitschrift für ärztliche Psychoanalyse (1920) 6:401;
    • “Das Schwache Weib.” Internationale Zeitschrift für ärztliche Psychoanalyse (1920) 6:158;
    • “Verdraengte Munderotik.” Internationale Zeitschrift für ärztliche Psychoanalyse (1920) 6:361–362;
    • “Renatchens Menschenentstehungstheorie.” Internationale Zeitschrift für ärztliche Psychoanalyse (1920) 6:155–157;
    • “Russische Literatur.” Bericht über die Fortschritte der Psychoanalyse 1914–1919, Vienna: Internationaler Psychoanalytischer Verlag (1921);
    • “Schnellanalyse einer kindlichen Phobie.” Internationale Zeitschrift für ärztliche Psychoanalyse (1921) 7:473–474;
    • “Briefmarkentraum.” Internationale Zeitschrift für ärztliche Psychoanalyse, (1922) 8:342–343;
    • “Qui est l’auteur du crime?” Journal de Geneve 2 (January 15, 1922);
    • “Die Entstehung der kindlichen Worte Papa und Mama.” Imago (1922) 8:345–367;
    • “Schwiez.” Internationale Zeitschrift für ärztliche Psychoanalyse (1922) 8:234–235;
    • “Rêve et vision de étoiles filantes.” International Journal of Psycho-Analysis (1923) 4:129–132;
    • “Die drei Fragen.” Imago (1923) 9:260–263;
    • “L’automobile: Symbole de la puissance male.” International Journal of Psycho-Analysis (1923) 4:128;
    • “Ein Zuschauertypus.” Internationale Zeitschrift für ärztliche Psychoanalyse (1923) 9:210–211;
    • “Quelques analogies entre la pensée de l’enfant, celle de l’aphasique et la pensée subconsciente.” Archives de psychologie (1923) 18:306–322;
    • “Einige kleine Mitteilungen aus dem Kinderleben.” Zeitschrift für Psychoanalytische Pädagogik (1923) 2:95–99;
    • “Die Zeit im unterschwelligen Seelenleben.” Imago (1923) 9:300–317;

    During her time in the USSR and posthumous

    • “Kinderzeichnungen bei offenen und geschlossenen Augen. ” Imago (1931) 16:259–291;
    • “Destruction as the Cause of Coming into Being.” Journal of Analytical Psychology 39 (1994) 2:155–186;

    Film

    • “Ich hiess Sabina Spielrein (My name was Sabina Spielrein)”. Sweden: 2002.
    • “A Dangerous Method” by David Cronenberg: 2011

    Links

    Google