Page 20
A R T S & W I T C H C R A F T S
Symbolism and the Occult Aesthetic
Part I
Occult: adjective
1) Hidden and difficult to see. 2) Having an importance beyond ordinary understanding.
Occult: noun
1) A collective of supernatural forces and events. 2) Practices and techniques of a supernatural nature.
1) Hidden and difficult to see. 2) Having an importance beyond ordinary understanding.
Occult: noun
1) A collective of supernatural forces and events. 2) Practices and techniques of a supernatural nature.
What at first glance appears to be a rather hefty compendium of icons, eerie designs, and strange illustrations is, in fact, only a small fraction of the total number of such images which abound everywhere. Featuring both historical and modern renderings, the two collections presented here were originally intended as workups for removable tattoos and other potential applications, such as cards, calendars, and posters.
It is important to note that while the subject matter focused on a singular theme, namely the occult and supernatural, no effort either then or now, is directed towards an endorsement -- or serious embrace -- of the actual content, meaning, or significance depicted among these images. No claim is made, nor should it be inferred that some level of expertise or special knowledge was involved in the accumulation of these specific designs. The process was fairly random and it was never a matter of selecting only some while discarding others; I simply grabbed what I could from a variety of sources. As always, time was of the essence and this was the best I could do under the circumstances.
The group, as a whole, is broken into two main sections, which repeat as smaller sub-sections. Displayed below is first, the sub-section that covers The Human Kingdom, which is then followed by the main section entitled The Animal Kingdom. The final breakdown as to what designs fell into what grouping was entirely arbitrary on my part. Instead of hitting viewers with an overwhelming assault of peculiar images, it seemed more sensible to split things up between the obvious divisions of humans and animals. A certain amount of overlap is consistent, however, and reflects a recurring theme among many of the graphics presented -- which is to say that ancient religionists favored a frequent blurring between male and female, as well as human and animal.
Worth repeating, due to the somewhat controversial nature of anything related to the occult, is the fact that all of these images were regarded (by me) solely in terms of their artistic merit. And potential commercial use as merchandise items. The client who hired me for this job felt that people who were inclined to wear temporary tattoos would enjoy having designs that hinged on things mysterious and esoteric in nature. Or of astrological, historical, and ancient origin -- in most cases regardless of the symbols' original intent or purpose. I agreed and as evidenced by the work presented, immersed myself in the project.
Other than creating my own version of many images, the majority of these icons and symbols are both historical and traditional in construction and configuration. It was equally important that, where appropriate, the art be as authentic as possible, in addition to having some degree of originality. More often than not, ancient symbols -- especially the simpler ones -- are what they are, and producing original art took second stage to an adherence to accuracy.
Based on the foregoing information, let me emphasize that most of the illustrations arranged on this and subsequent pages are more a look-back review of an interesting work assignment, than they are an exposition of my personal talent as an artist. I did little more than create my own reproductions of what are, in many instances, the product of other artisans from various ages of antiquity. Nor was it, then or now, my wish to engage in any discussion of the deep meanings associated with these iconic and largely historic symbols. People, young and old, would have purchased such items for the same reasons the client and I created them -- namely the fascinating mystical qualities that each represents, regardless of any actual implication. And if nothing else, because they're all just kind of cool in their own, inimitable way. In those instances where the true significance is either known or obvious, so much the better.
Less-than-better was the fact that, beyond some test samples, none of these items ever saw the light of day, let alone the touch of skin. It's amazing, in hindsight, how often it happens that inexperienced, would-be entrepreneurs fail in their efforts. And that's just me. Most of the time I still got paid my pittance, but residuals and royalties were rarely forthcoming, particularly when a project never lifted off the runway. Or more than taxied out of the hanger.
In the years since -- these are from about fifteen years ago -- I've been equally amazed at how much of this stuff is actually around, or dates from ancient times. Especially the Jewish mysticism artifacts. Because of the internet, we can now -- at the click of a mouse button -- review the historical record and see the hundreds, even thousands of these and similar images -- almost all of them related to what are called, "esoterica" or "arcana", meaning stuff whose real meaning is known only to an initiated minority of individuals.
Be that as it may, what follows is a small sampling that may or may not be of interest to the many who are not initiated (like me). The broad topic of "symbolism", whether ancient or modern, is itself deserving of a separate section and discussion. Some attribute great powers and influence to such things, while others dismiss them as nothing but superstitious nonsense. Me? I'm of two minds on the subject. The all-too-familiar Nazi swastika, itself stolen from ancient iconology, is certainly indicative of the power a symbol can generate -- negatively. Likewise the Red Cross, with its red cross, conveys its own message -- positively.
But what came first in these instances? Fear and evil no doubt preceded the German swastika, which then became indistinguishable from either. It would appear then, secondarily, that symbols cannot be separated from the activities with which each is identified. To do so, results in a pictograph that is little more than a meaningless scribble. A school of thought does exist, however, which holds that some symbols are so powerful in and of themselves, that they tap into the inscrutable powers of the supernatural realm itself -- whatever that may be. Maybe. It's not for me to say, one way or another. I've talked to believers who, like UFO advocates, advance convincing arguments. Learned skeptics, for the most part, make their own cases which can seem undeniably credible.
The answers to such questions reside in the truly mysterious realm of human consciousness. It's a cliche, but the observation -- scientific or otherwise -- remains true that we understand very little of how our brains (and those of others) function, or what their true potential is. Closely connected, if not utterly inseparable, is the use of language, both verbal and silent. It's likely the case that visual images speak to us in their own kind of linguistic fashion whose interpretation is yet to be deciphered. Until then, kick back and simply peruse these little pics as if they were the latest post office stamps.
Forever stamps, of course.
It is important to note that while the subject matter focused on a singular theme, namely the occult and supernatural, no effort either then or now, is directed towards an endorsement -- or serious embrace -- of the actual content, meaning, or significance depicted among these images. No claim is made, nor should it be inferred that some level of expertise or special knowledge was involved in the accumulation of these specific designs. The process was fairly random and it was never a matter of selecting only some while discarding others; I simply grabbed what I could from a variety of sources. As always, time was of the essence and this was the best I could do under the circumstances.
The group, as a whole, is broken into two main sections, which repeat as smaller sub-sections. Displayed below is first, the sub-section that covers The Human Kingdom, which is then followed by the main section entitled The Animal Kingdom. The final breakdown as to what designs fell into what grouping was entirely arbitrary on my part. Instead of hitting viewers with an overwhelming assault of peculiar images, it seemed more sensible to split things up between the obvious divisions of humans and animals. A certain amount of overlap is consistent, however, and reflects a recurring theme among many of the graphics presented -- which is to say that ancient religionists favored a frequent blurring between male and female, as well as human and animal.
Worth repeating, due to the somewhat controversial nature of anything related to the occult, is the fact that all of these images were regarded (by me) solely in terms of their artistic merit. And potential commercial use as merchandise items. The client who hired me for this job felt that people who were inclined to wear temporary tattoos would enjoy having designs that hinged on things mysterious and esoteric in nature. Or of astrological, historical, and ancient origin -- in most cases regardless of the symbols' original intent or purpose. I agreed and as evidenced by the work presented, immersed myself in the project.
Other than creating my own version of many images, the majority of these icons and symbols are both historical and traditional in construction and configuration. It was equally important that, where appropriate, the art be as authentic as possible, in addition to having some degree of originality. More often than not, ancient symbols -- especially the simpler ones -- are what they are, and producing original art took second stage to an adherence to accuracy.
Based on the foregoing information, let me emphasize that most of the illustrations arranged on this and subsequent pages are more a look-back review of an interesting work assignment, than they are an exposition of my personal talent as an artist. I did little more than create my own reproductions of what are, in many instances, the product of other artisans from various ages of antiquity. Nor was it, then or now, my wish to engage in any discussion of the deep meanings associated with these iconic and largely historic symbols. People, young and old, would have purchased such items for the same reasons the client and I created them -- namely the fascinating mystical qualities that each represents, regardless of any actual implication. And if nothing else, because they're all just kind of cool in their own, inimitable way. In those instances where the true significance is either known or obvious, so much the better.
Less-than-better was the fact that, beyond some test samples, none of these items ever saw the light of day, let alone the touch of skin. It's amazing, in hindsight, how often it happens that inexperienced, would-be entrepreneurs fail in their efforts. And that's just me. Most of the time I still got paid my pittance, but residuals and royalties were rarely forthcoming, particularly when a project never lifted off the runway. Or more than taxied out of the hanger.
In the years since -- these are from about fifteen years ago -- I've been equally amazed at how much of this stuff is actually around, or dates from ancient times. Especially the Jewish mysticism artifacts. Because of the internet, we can now -- at the click of a mouse button -- review the historical record and see the hundreds, even thousands of these and similar images -- almost all of them related to what are called, "esoterica" or "arcana", meaning stuff whose real meaning is known only to an initiated minority of individuals.
Be that as it may, what follows is a small sampling that may or may not be of interest to the many who are not initiated (like me). The broad topic of "symbolism", whether ancient or modern, is itself deserving of a separate section and discussion. Some attribute great powers and influence to such things, while others dismiss them as nothing but superstitious nonsense. Me? I'm of two minds on the subject. The all-too-familiar Nazi swastika, itself stolen from ancient iconology, is certainly indicative of the power a symbol can generate -- negatively. Likewise the Red Cross, with its red cross, conveys its own message -- positively.
But what came first in these instances? Fear and evil no doubt preceded the German swastika, which then became indistinguishable from either. It would appear then, secondarily, that symbols cannot be separated from the activities with which each is identified. To do so, results in a pictograph that is little more than a meaningless scribble. A school of thought does exist, however, which holds that some symbols are so powerful in and of themselves, that they tap into the inscrutable powers of the supernatural realm itself -- whatever that may be. Maybe. It's not for me to say, one way or another. I've talked to believers who, like UFO advocates, advance convincing arguments. Learned skeptics, for the most part, make their own cases which can seem undeniably credible.
The answers to such questions reside in the truly mysterious realm of human consciousness. It's a cliche, but the observation -- scientific or otherwise -- remains true that we understand very little of how our brains (and those of others) function, or what their true potential is. Closely connected, if not utterly inseparable, is the use of language, both verbal and silent. It's likely the case that visual images speak to us in their own kind of linguistic fashion whose interpretation is yet to be deciphered. Until then, kick back and simply peruse these little pics as if they were the latest post office stamps.
Forever stamps, of course.
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T h e A N I M A L K i n g d o m
Early cultures were extremely preoccupied with animals of all kinds, including the smallest (insects) and the largest (elephants / whales). Because animals behave so differently from humans, often possessing enviable physical strengths and agilities, many creatures were worshiped as gods. The Egyptians, for example, regarded common house cats -- who frequently act like they know stuff we don't -- as divinities worthy of their own mummification. Most animals in one way or another, must have mystified the people of ancient times.
The peoples of antiquity surely marveled at the eerie machinations of snakes as they slithered along the ground, meandered through trees, or swam through water; no doubt they were in awe as to how such creatures were able to move without arms or legs. Imagining this and an endless multitude of other examples, it seems only natural that such wondrous creatures should be intimately associated with all things supernatural.
It will become quickly apparent that I did not identify all the animals by name nor give an informative caption to each graphic. The purpose of the art was always, first and foremost, purely aesthetic, an impulse purchase, and only incidentally something of factual or historical significance. Where it seemed appropriate, I did include small bits of added info about this or that. In most instances, the artwork below and on subsequent pages remains incomplete, unfinished, or indeterminate as to how the final version would have appeared. Let alone what colors might be used. Thus these are little more than clean, hard-edge drawings, each of them ready for a next step in their preparation as full-color tattoos, posters, calendars or other applications.
In the final analysis, I think the pics are all fun to look at and to realize how, to many people, such images were taken very seriously. Some still are, by serious-minded folks who consider such things as pictorial or symbolic representations of a supernatural world which itself is taken very seriously. For this and other reasons, I've made little editorial comment as to whether I consider any of it more than what it is -- more than just more art.
Then again, my wife and I have two cats who never cease to mystify us; a situation where the reverse is also true, I'm sure. I think the Egyptians were right about them. Cats know stuff that mere mortals do not. I think one is staring at me now. Time to move on.
The peoples of antiquity surely marveled at the eerie machinations of snakes as they slithered along the ground, meandered through trees, or swam through water; no doubt they were in awe as to how such creatures were able to move without arms or legs. Imagining this and an endless multitude of other examples, it seems only natural that such wondrous creatures should be intimately associated with all things supernatural.
It will become quickly apparent that I did not identify all the animals by name nor give an informative caption to each graphic. The purpose of the art was always, first and foremost, purely aesthetic, an impulse purchase, and only incidentally something of factual or historical significance. Where it seemed appropriate, I did include small bits of added info about this or that. In most instances, the artwork below and on subsequent pages remains incomplete, unfinished, or indeterminate as to how the final version would have appeared. Let alone what colors might be used. Thus these are little more than clean, hard-edge drawings, each of them ready for a next step in their preparation as full-color tattoos, posters, calendars or other applications.
In the final analysis, I think the pics are all fun to look at and to realize how, to many people, such images were taken very seriously. Some still are, by serious-minded folks who consider such things as pictorial or symbolic representations of a supernatural world which itself is taken very seriously. For this and other reasons, I've made little editorial comment as to whether I consider any of it more than what it is -- more than just more art.
Then again, my wife and I have two cats who never cease to mystify us; a situation where the reverse is also true, I'm sure. I think the Egyptians were right about them. Cats know stuff that mere mortals do not. I think one is staring at me now. Time to move on.
Fig. 1.
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Fig. 2.
The big cats; lions, cheetahs, tigers,
panthers, jaguars, oh, my. Transcultural. |
Fig. 3.
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Fig. 4.
The sacred bull; horns symbolic of the moon.
A call of events. Egypt. |
Fig. 5.
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Fig. 6.
The scarabaeid beetle; an Egyptian divinity.
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Fig. 7.
Sacrificial lambs and calves.
Golden idols and worshipers. |
Fig. 8.
The proverbial scaredy-cat.
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Fig. 9.
The symbolic cuckoo.
Clocks included. |
Fig. 10.
Dog spelled backward is God.
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Fig. 11.
Falcons and falconry.
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Fig. 12.
Familiars; A witch's demon.
An Imp or soul pet. Men were often jealous over women's relationships with animals. |
Fig. 13.
The mysterious fox. Cunning,
clever, sought for its beauty. |
Fig. 14.
Geese.
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Fig. 15.
Frogs and amphibians.
Fig. 16.
Christian symbol for Jesus.
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Fig. 17.
Old joke: If a frog had wings, it wouldn't bump
its butt whenever it leaped and landed. |
Fig. 18.
The traditionally named hind.
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Fig. 19.
Griffin. Symbol of seasons.
Guardian of treasures. Persian. |
Fig. 20.
Hokma. Goddess of Wisdom.
The Holy Ghost. Judeo-Christian. |
Fig. 21.
The classic equine.
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Fig. 22.
The classic horse head.
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The Animal Kingdom continues on page IMA21.
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listed under IMAGINOMICON.
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