NYC: “Muslim” Feminist Unveils Satanic Statue Dedicated to Abortion

[AMusee]

Art often symbolizes what is highly valued within a given culture. Throughout the ages, different movements in art represent the general mindset of the age. Western Medieval art, for example, featured works depicting biblical tales or topics of war. This was during a time of constant warfare between Christians and Muslims.

During the era thereafter, Renaissance art marked a gradual shift from religion to secularism. During this period, artists focused on painting individuals, rather than groups and realism, through the precision and definition of nature and the human anatomy.

Modern artists rejected conservative values and history, and they began to experiment with different forms and shapes, with a special focus on technique and processes.

Finally, we arrive at the Contemporary art period, which includes all art produced from the second half of the 20th century to the present day.

Contemporary art pays tribute to the West’s new religion and highlights the superiority of their beliefs, while ridiculing traditional values, morals and history.

A great example of this is the newly unveiled satanic golden medusa abortion statue, which was unveiled last week atop a New York City courthouse.

The statue depicts a horned female, with tentacle-like arms, emerging from a lotus flower and sporting Justice Ruth Bader Ginsburg’s signature lace collar.

The New York Times reports:

Shahzia Sikander, 53, the paradigm-busting Pakistani American artist behind the work, said the sculpture was part of an urgent and necessary cultural reckoning underway as New York, along with cities across the world, reconsiders traditional representations of power in public spaces and recasts civic structures to better reflect 21st-century social mores.
“She is a fierce woman and a form of resistance in a space that has historically been dominated by patriarchal representation,” said Sikander, who previously served on the New York Mayoral Advisory Commission of City Art, Monuments and Markers. She said the work was called “NOW” because it was needed “now,” at a time when women’s reproductive rights were under siege after the U.S. Supreme Court in June overturned the constitutional right to abortion.

Not only was the statue met with a great deal of mockery and disgust, surprisingly, even a NYC Council Member bemoaned the very existence of the statue. She describes it as a demon, asking if the public had any input in the decision of putting the statue up and how they could work towards having it removed.




RELATED: “Art” and Painting: What They Reveal about Western Civilization

It’s also no coincidence that a “Muslim” artist was commissioned to design this statue, one that is dedicated to the fight for unrestricted abortion rights. Not only is it a blatant effort towards warping this idea that Muslims are dedicated to their traditional values and morals, but it is also a clear attempt to socially engineer and further liberalize Muslims through the normalizing and propping up of degenerate Muslims.

Sikander claims the horns represent female “sovereignty” and “autonomy.” The body “loops out and into itself” representing the idea that the body cannot be “fixed, grounded, or stereotyped.”

This satanic monstrosity, dedicated to promoting the murder of unborn children, symbolizes much of what the West’s new religion is. It is a religion emphasizing the worship of the self.

Indeed, the artist was correct in morphing the female shape into an animal-like form since the worship of the self along with its desires removes oneself from being human. It morphs you into an untamable beast, endlessly ramming your horns into all values and morals just to attain the thing you desire the most at that moment in time.

Once you finally achieve whatever it is that you desire, you quickly discover something else that you also now desire, and the loop is never ending.

وَحَدَّثَنِي حَرْمَلَةُ بْنُ يَحْيَى، أَخْبَرَنِي ابْنُ وَهْبٍ، أَخْبَرَنِي يُونُسُ، عَنِ ابْنِ شِهَابٍ، عَنْ أَنَسِ بْنِ مَالِكٍ، عَنْ رَسُولِ اللَّهِ صلى الله عليه وسلم أَنَّهُ قَالَ ” لَوْ كَانَ لاِبْنِ آدَمَ وَادٍ مِنْ ذَهَبٍ أَحَبَّ أَنَّ لَهُ وَادِيًا آخَرَ وَلَنْ يَمْلأَ فَاهُ إِلاَّ التُّرَابُ وَاللَّهُ يَتُوبُ عَلَى مَنْ تَابَ ” .
It has been reported from Anas ibn Malik [may Allah be pleased with him], from Allah’s Messenger ﷺ, that he [ﷺ] said: If there were two valleys of gold for the son of Adam, he would long for another one. and his mouth will not be filled but with dust, and Allah forgives those who repent. (Sahih Muslim)

RELATED: Abortion in Islam: The Stance of the Ḥanafīs and Other Schools

https://muslimskeptic.com/2023/02/03/muslim-feminist-satanic-statue/

 

[AMusee]

Why Feminism Is Satanism and Why Abortion Is a Ritual​

The recent American controversy about a potential “abortion ban” has reignited heated discussions about a host of subjects, including what really is the essence of feminism, which prides itself on liberating women while, in reality, it not only alienates them but also ends up killing children.

In fact, the Quran 6:137 describes the killing of children as Satanic:

The pagans’ evil associates have made it appealing to them to kill their own children—only leading to their destruction as well as confusion in their faith. Had it been Allah’s Will, they would not have done such a thing. So leave them and their falsehood.

The tafsirs of this ayah mention that the evil associates are devils as well as evil people.

Even non-Muslims have recognized this ancient connection between killing of children and Satan.

Feminism as a Satanist Revolution​

Per Faxneld is a Swedish academic who specializes in the history of religion and is associated with Stockholm University. So, his “secular credentials” are irreproachable; he can’t be accused of being a “religious bigot” who “sees Satanism everywhere,” right?

Well, in 2014 he released a book, Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture.

In that comprehensive study of more than 500 pages, he begins by demonstrating how general the reference to Iblis is in the feminism movement:

The late nineteenth and early twentieth century: A world- leading female esotericist, whose books sell hundreds of thousands of copies, designates Lucifer the bringer of enlightenment. In Paris, a lesbian poetess publishes a volume where she praises Satan as the creator of womankind as well as the inspirer of feminine poetry and love between women. Americans are shocked when a twenty-year-old woman from Butte, Montana, writes a provocative autobiographical bestseller, in which she uses the Devil as a symbol of freedom from conservative social mores. In particular, she criticizes the oppression of women. Radical feminists in the United States and Europe collaborate on what they call The Woman’s Bible. It eulogizes Eve’s consumption of the forbidden fruit in the Garden of Eden, and Satan’s function in the tale is claimed to be that of a benign Socratic mentor figure.
Elsewhere, a distinguished American suffragette portrays Black Masses, supposedly celebrated by medieval witches, as an act of feminist insubordination towards God, his priests, and the worldly lords who have all denied the rights of women. In a critically well- received and commercially successful novel by a young Englishwoman, a kindly Satan helps the female protagonist achieve self-actualization and autonomy from her male relatives. An incredibly wealthy Italian marchioness, a world-famous stage actress, and an illustrious silent film star play identity games that involve taking on the role of Satan or portraying themselves as being in league with this entity. Numerous Parisian women adorn themselves with jewellery sensuously depicting Eve’s collusion with the Devil and her partaking of the forbidden fruit.

While reading these lines, you’ll remark that these all involve the masses: famous writers, famed actresses and, more generally, influential public figures. We’re not talking here of a few isolated “intellectuals” writing in some obscure books few would read but an overall pattern which was of civilizational importance in the West.

RELATED: Confessions of a Muslim Ex-Feminist

In the next chapters, he analyzes this “Satanic feminism” in different cultural movements of the modern West, ranging from socialism to Gothic literature (notably the image of the vampire) and Theosophy (the old equivalent to our current “New Age Spirituality”) or even the phenomenon of witches (which are, unsurprisingly, being increasingly re-appropriated by modern feminists).

What’s particularly interesting is that the first “Satanic feminist” is somehow associated with Islam, as he writes in p. 496:

Actual Satanic feminism arises shortly after Satanism (sensu lato) itself appears for certain in world history. Percy Bysshe Shelley, the prime mover in the creation of literary Satanism, was a feminist. In The Revolt of Islam (1818) he merges the two. The Satanically inspired female revolutionary in this narrative declares that the emancipation of woman is a prerequisite for the true liberation of mankind. Hence, The Revolt of Islam, with its frank combining of equally unequivocal Satanism and feminism, makes Percy Shelley the first Satanic feminist.

Isn’t that puzzling? The roots of Satanic feminism are found in a poem which in fact doesn’t even concern Islam directly, yet somehow it had to be included in the title, as if it anticipated what was to come a few centuries later, that is, feminist imperialism targeting Muslims during colonialism and more recently during the “War on Terror.”

RELATED: [WATCH] Feminist Hijabi DEBATE | Should Muslim Women Go to College?

We can’t go through an entire panoramic reading of history as well of feminism literature in this article, though that would definitively demonstrates the Satanism of feminism. For now, let’s look at why abortion is a ritual of this Satanic feminist religion.

Lilith, “Child-Killer” and First Feminist​

In a previous article about the occult in anime, we mentioned the figure of Lilith without extensive elaboration.

But obviously Faxneld couldn’t avoid her, considering the symbol she represents. Thus he writes in pp. 55-58:

While Satan could be female or hermaphroditic, he could also have a wife, who according to certain accounts was called Lilith. This demonic woman, whom some would eventually come to regard as the first feminist, has a long history. Raphael Patai and others have theorized that she has her roots in ancient Sumeria. As Gideon Bohak points out, regardless of where she began her sinister career, Lilith became ‘part and parcel of Jewish demonology already in the Second Temple period’ (530 b.c.– 70 a.d.) and has ‘remained there ever since’. (…)
According to the Alphabet, Lilith and Adam were not a happy couple, since Lilith refused to lie beneath her husband when they had intercourse. She considered herself his equal, since they were both made from the earth, and refused to submit to him in this manner. Lilith then uttered the secret name of God and flew off to the Red Sea. God sent three angels after her, but she refused to return. The angels consequently threatened to drown her. She argued that she was created to cause sickness to infants, and made a deal with God’s messengers to harm no child who is protected by the names or images of the angels. This last part of the tale sets out to explain the already widespread Jewish practice of hanging amulets with the names of these three angels around the necks of newborns. (…)
In later times, however, Lilith lived on primarily as a figure perceived by tradition-bound Jews to be a threat to newborns. Aside from using amulets, they would draw a circle on the wall in male children’s room and write within it ‘Adam and Eve. Out Lilith!’ The door of the room would be inscribed with the names of the three angels. Such practices have been amply documented throughout the centuries, and belief in Lilith the child-killer persisted at least until the late nineteenth century in traditional Jewish communities.

So for the Jews, Lilith, “the first feminist,” is a demon-like figure who targets children and newborns in particular, to the extent she’s known as “the child-killer.”

Faxneld then writes about the perception of Lilith among non-Jews, how she was also known as “the child-murderer” (p. 58) or how Aleister Crowley, the most influential of the modern European occultists, whom we mentioned in a previous article, named his first child Lilith (p. 60).

Writing about feminist reappraisal of Lilith, Faxneld brings another poem which is again indirectly connected to Islam, in pp. 62-63:

Another depiction of Lilith as a proto-feminist (aided in her emancipation by Satan) is Ada Langworthy Collier’s (1843– 1919) book-length poem Lilith: The Legend of the First Woman (1885), which her contemporaries considered to be the author’s greatest work. (…)
All the same, after Lilith’s flight from her obstinate male chauvinist husband she ends up in an intimate relationship with Satan (who goes by his Islamic name Eblis). (…)
As time passes, Lilith develops a consuming longing for children and grows jealous of Eve, who has begotten a young one by Adam.

 

[AMusee]

Isn’t that strange how Satanic feminism makes random and unnecessary references to Islam? Perhaps it’s a sign for “Muslim” feminists.

RELATED: Muslim Feminism: The Modern Form of Burying Your Daughters

There are just too many references linking Lilith with feminism, and such a connection is proudly affirmed by feminists themselves.

For instance, take the Lilith Magazine, which dubs itself as a “Jewish feminist” journal, and which has been described as such in an article aptly titled Born to kill children and men: the resurrection of Lilith:

In 1976, Jewish feminist magazine Lilith was founded, and Zuckoff explained in the first issue why the magazine was named after the ancient demon: “Lilith is a powerful female … By acknowledging Lilith’s revolt and even in telling of her vengeful activities, myth-makers also acknowledge Lilith’s power.”
Lilith has become a modern-day feminist icon for three main reasons: she’s independent, she fights the patriarchy and she owns her sexuality. In 1972, Judith Plaskow, a theologian, helped this interpretation reach the cultural elevation it has today by writing a parable titled The Coming of Lilith (…) the release of the story, in the midst of the era of second wave feminism, certainly helped to change attitudes towards the figure of Lilith. Some of the ideas Plaskow draws upon in her parable still resonate today, for instance: challenging gender stereotypes, bodily integrity and individualism.
The idea of Lilith as a feminist symbol has inspired many Jewish feminists and pagans to create their own stories about Lilith in the form of articles, songs and poetry. The book Whose Lilith?, released in 1998, features many of these art works.

But what about the ritual of abortion in particular? This is a “viral” Tweet from the magazine’s official account:




In Texas there’s an organization which works for “abortion access,” as they themselves say, and which chose for itself the name Lilith Fund.

On its website, it describes its “mission” as such:

We provide financial assistance and emotional support while building community spaces for people who need abortions in Texas—unapologetically, with compassion and conviction. Through organizing and movement-building, we foster a positive culture around abortion, strengthen people power, and fight for reproductive justice in and with our communities.

Imagine someone writing “We foster a positive culture around suicide,” or “We foster a positive culture around racial discrimination”? Yet the feminist religion gets away with so much despite its dark dogmas.

RELATED: Disturbing “Fetal” Remains Controversy: Islam and Abortion Normalization

If abortion has become such a ritual in the feminist religion, it’s because in the feminist mythology, the idea of motherhood is seen as limiting the woman’s “agency,” “freedom,” or “bodily autonomy.” All these ideas are represented in the symbol of Lilith, a Satanic figure known for murdering children, which they acknowledge with delight. Insofar as feminism seeks to nullify and destroy motherhood, what more apt symbol or action can there be than the killing of babies in the womb?

Modern feminism is obviously a byproduct of the West’s inner contradictions, the West having birthed extremist ideologies such as feminism, materialism, capitalism, and so on because of this civilization’s innate disequilibrium. A lot of this originates from the Shirk of Christianity.

RELATED: “God Is Dead”: How Christianity Anticipated Nietzsche

And this feminist war against motherhood and the weaponization of abortion might find its roots in the Bible as well, which explicitly considers childbearing as a sort of punishment.

We thus read in Genesis 3:16 the “divine punishment” for Eve’s eating of the forbidden fruit:

To the woman he [God] said,
“I will make your pains in childbearing very severe;
with painful labor you will give birth to children.
Your desire will be for your husband,
and he will rule over you.”

This is also the reason why Christians believe that Mary (‘alayha as’salam) didn’t go through labor pain, as opposed to Islam (see Qur’an 19:23). Islam recognizes that labor pain is natural and is a reason to honor our mothers (see Qur’an 31:14 and Qur’an 46:15), certainly not an eternal punishment for a whole gender based on some “original sin.”

So, when there is such an unjust punishments for all of the Eve’s, why be surprised by all the Lilith’s to come?

RELATED: The False Teachings of the Feminist Dogma

https://muslimskeptic.com/2022/05/05/feminism-satanism-abortion/