There is a typical question discussed in Quora forums consecrated to the chronicles of Fine art development ‘Why were ancient Egyptians always painted side-on?‘
At first glance, it may look like as if the old crafts required some necessary skills to paint under the particular principles of perspective.
What time is love?
Then, goes the latter question on what is whole while mostly forms painted side-on, through the ‘halves‘ and proportions although all the features depicted so glowingly in profile. Such facial appearance usually first identified as being designed in a ‘careless‘ style.
Following article’s abstract may be considered as another author’s try (not) to fall in love with breath-taking epic Greek mythological drama about Medusa.
This article aims at interpreting Medusa as an intrinsically ambiguous figure. Taking Freud as a starting-point I will analyse in what way Medusa represents what may not be represented; how she wanders in a territory that belongs to both death and life, male and female, order and chaos, the visible and the invisible.Author: Laurens de Vos
Published: January 2003
Holding on to Nothing
Well, it’s a long-drawn Odyssey journey many contemporary thinkers still taking to break through the Oedipal questions when preferring creepy Greek myths for the in-depth deconstruction. In fear, we trust. Meanwhile, medusa myth leads to the Freudian catchword on ‘castration’.
”To Decapitate”, wrote Freud in 1922, – ”to castrate”.Laurie Schneider, Donatello and Caravaggio: The Iconography of Decapitation, p.76
He was speaking of the ways in which unconscious thinking is symbolically transformed into the words and thoughts of the conscious mind. The truth of his statement now receives wider acceptance than originally and is borne out by many examples in art and literature where amorous or erotic content occurs together with decapitation.
American Imago © 1976 The Johns Hopkins University Press
Nothing personal, just business
Seems like there is a pale falcon-headed visage of Ancient Egyptian deity. But… is there any head if closer look taken as some meditations on these majestic figures?
The parts, including body-parts, and then not to forget to keep track on the wall-writings constructed as the endless string of pearls full of intricate images so to deliver these metaphorical styles of beyond the common sense in Lacanian Language it is a “signifying chain“.
It’s difficult to understand. To love is to suffer, to follow the love is to experience sufferings, well, but not falling in love, strangely; ‘I love you’ is hard to state, sometimes, it hurtz.
The title ‘Pure Acid’ is generally used to demonstrate the hardness of these unutterable ‘representations what may not be represented’ deep trips Ancient Egyptians did high and pretty much wall-stoned on Sacred Lotus comparable to one of the most prevalent pop-psychedelix – LSD. They did fascinating paintings befalling in a psychotic state and revealed all the existential questions. Actually, they did it all great. Mon merci.
What about me? What about me?
Medusa’s head tells in her facial expressions that there’s no head and behind that myth is the funky figure of Acephale – extra fanciful hard candy wrapping unlocked.
Scrolling down the ambiguous materials on the wiki about the ancient Egyptian deity of the sun and reaching, again and again, the mythological fact that Ra’a created himself, so he must be feeding…himself. Why not, what an independent essence ever entreated to sit still on the picture for merely a little time.
Zoom in, zoom out and there is a tongue finally distinguished.
Super diet, lactose free
What does He eat? The straightforward answer: nothing.
In conventional psychoanalytic terms, He consumes Milk. The white area around the hawk’s claw or ram’s horn is a helpful tip. The claw above the miniature tongue is holding nothing and giving precisely the right amount of precious dairy beverage, that made of nothing, by Himself, embodied in a baby goat.
The head composed in animal-derived body-parts for only one purpose – animals sometimes are crazy beasts and don’t know the stopping words. Fun truth: they don’t speak; obviously, they can’t stop raving in the wild world nor being domesticated. They have the Desire to Be – the total need to eat, to copulate, to fight and other unpredictable, impulsive activities. The logic of to Be has no limits of delight as the newborn baby has the need to eat and then going number one and two, to do pee-pee and to faire caca.
The big Ball above the head shows the two stages of the subject’s development – the oral and anal in animalistic description through the snake, tongue-splitted creature.