Is Alchemy both a Science and Religion?

Alchemy features both scientific and religious aspects. Complex coded language and imagery are combined with step-by-step recipes. For example, a logical mode of operation is seen by the sequential stages referred to as Nigredo, Albedo and Rubedo. These are color transformations that metals go through (Dictionary of Gnosis & Western Esotericism pg. 36) and are applicable practically in the flask or symbolically in meditation. Jung correlates the process of the “Nigredo” as encountering the shadow (Jung on Alchemy pg.128). This dual function also happens through the medicinal field by which the science deals with the preparation of medicines and the religious by allegorical methods that analogizes healing to the alchemical process (Dictionary of Gnosis & W.E. pg. 34).

Eliade shows how science and religion are together in alchemy by way of its “magico-religious” relationship to matter (The Forge and the Crucible pg.8). He tells us that in the celestial realm, religious significance was attached to meteorites that landed on earth and were worshipped (The Forge and the Crucible pg. 20). The macrocosm above in the stars, and the microcosm below in man, became a doctrine that was essential to the alchemist’s work. (Dictionary of Gnosis & W.E. pg. 34). We get this principle of Macrocosm/Microcosm from an important mythological figure “Hermes Trismegistus” and other universal laws which are codified into a text called “The Emerald Tablet.”

Another vital concept is that of the four elements which are air, fire, earth and water. These elements are fundamental astrological principles that are guidelines to follow for the growth of metals because one planetary configuration is more conducive for the metal than an another (Dictionary of Gnosis & W.E. pg. 35).

Von Franz shows the combination of religion and science in the terrestrial side of alchemy. She says that the Egyptian concept of the ”Ba-soul” (oneness with the universe) was brought about through the mummification of a corpse, and for potential immortality it was bathed in god liquid called “natrium” (sodium). The word natrium reduced is n-t-r, which meant “god” (Alchemical Active Imagination pg. 6). But where the Egyptians redeemed man, Jung says the alchemist’s continuation of Christian mysticism redeemed not man, but God (Jung on Alchemy pg. 130-132).

Mythological patterns found in alchemy are extracted out by Adam Mclean in his book “Study course on alchemical symbolism.” He says that human figures are usually shown as planetary beings (pg 126-129) who have a metallic and astral significance. Pairs of opposites he groups by male/female, king/queen and the sun and moon (pg.45). The reconciliation of opposites he attributes to the hermaphrodite, marriage, birth of a child, the ouroboros, snakes intertwined, and the philosopher’s stone (pg.54-81). Trees are seen as uniting above and below and the roots determine the kind of leaves and branches that will produced above (pg.82-84). Lastly, Birds represent alchemical processes, the crow as Nigredo, swan as Albedo, peacock as colors varies and the pelican with red blood feeding its young as Rubedo (pg 93-97, 199).

One can argue that the spiritual-religious and mythological aspect of alchemy sets the stage for alchemy for being both a science and a religion. The doctrine of microcosm and macrocosm, as above, so below is a fundamental concept (Dictionary of Gnosis & Western Esotericism pg. 34) that serves as guide to the alchemist’s soteriological aims (The Forge and the Crucible pg.11). Through the fascination with matter and complex coded symbolism that addresses this problem of the opposites, alchemy’s dual functioning in the realms of science and religion is a matter that deserves further investigation.

One the one hand, through medicinal and pharmaceutical benefits, alchemy satisfies the scientific mind by exploring the nature of matter with systematic and reproducible alchemical recipes but on the other it is also a religious practice of devotion that relies upon inner as much as the outer transformations through prayer, meditation and the grace of God to complete the work. The macrocosm of the stars and microcosm of man was essential to the alchemist work. The growth of metals in one planetary configuration was more conducive for growth than another (Dictionary of Gnosis & Western Esotericism pg. 34). The celestial has always been important, Eliade tells us that religious significance was attached to aeroliths and that meteorites that fell to earth worshipped or identified with a deity (The Forge and the Crucible pg. 20). On the earthly plane, Eliade points out the smelter, smith and alchemist’s relationship to matter was a “magico-religious” experience (The Forge and the Crucible pg.8). Von Franz goes further and says that the Egyptians concept of the Ba-soul was brought about through mummification in a god liquid that the corpse was bathed in. This liquid consisted of natrium which in Latin means sodium. The word natrium can be reduced to n-t-r which meant “god” and soaking in this material meant the corpse would become eternal (Alchemical Active Imagination pg. 6).

Jung tells us that the alchemists had a positive attitude towards Christianity and that in the unconscious, alchemy through its understanding of symbolic imagery was a continuation of Christian mysticism that redeemed not man, but God (Jung on Alchemy pg. 130-132). This religious aspect or mythological aspect of alchemy had a consistent set of images. Adam Mclean lays out the most common images found in alchemy. Some images in alchemy that are pairs of opposites are the Sun/Moon, Male/Female, King/Queen, Red Rose/White Rose, Winged/Not, Birds Flying to Heaven/Birds flying to Earth (Study course on alchemical symbolism pg.45). Reconciliation of Opposites images of the Hermaphrodite/Androgyne, Sun/Moon Unions, Marriage Symbols, Birth of a Child, the Ouroboros (Head/Tail), snakes Intertwined in the Caduceus, and the Philosopher’s Stone (Study course on alchemical symbolism pg.54-81). Consistent Animals found are the Lion, Dragon, Snake, Salamander, Toad, Wolf/Dog, Fish, Dolphin, Unicorn, Stag, hare, Crab or Lobster (Study course on alchemical symbolism pg.115). Trees had their own symbolism with roots as determining the branches and transformation above, and uniting above and below (Study course on alchemical symbolism pg.82-84). Birds play a big role in alchemical imagery, they are seen as messengers, between above and below, descent of the Spirit, as representing alchemical processes, Crow/Raven as Nigredo, Swan as Albedo, Peacock as Colors Varies, Pelican with Red Blood feeding it’s young or Phoenix as Rubedo (Study course on alchemical symbolism pg 93-97, 199). Lastly, human figures are shown in various ways, as Planetary beings, King or Queen, Hermaphrodite, as agent or operator of the work, acting or being acted upon. (Study course on alchemical symbolism pg 126-129). This is only scratching the surface on the religious and mythological aspects of alchemy.

Resources:

Eliade, M. (1981). The forge and the crucible. Chicago: The University of Chicago Press.

Franz, M. V. (1997). Alchemical active imagination. Boston, Mass: Shambhala.

Hanegraaff, W. J. (2006). Dictionary of gnosis & Western esotericism. Leiden: Brill.

McLean, A. (2011). Study course on alchemical symbolism. Glasgow: Alchemy Web Bookshop

Schwartz-Slant, N. (1995). Jung on Alchemy, part of Encountering Jung series. Princeton, New Jersey: Princeton University Press.