Dali's Psychic Force
By Don Estrella, Ft. Lauderdale, Florida
Salvadore Dali. Dali is eccentric. Dali is a genius. Dali is a clown. Dali is bizarre. Dali is also mystic and without our consciously realizing it, Dali has always relied upon the psyche to guide his paintings.
The world has long regarded Salvidor Dali as the finest exponent of surrealistic art of this century. They have, moreover, lauded his artistic craftsmanship and technique, been amused by his umoristic touches and forgiven his other light erotic fantasies in the name of art. The art world and the general public have never, however, taken serious note of, nor looked intently enough with an objective eye into Dali's compositions. The "inner quality" or "heart" of Dali's painting, which he refers to as the "paranoia-critica" is actually the deep superconscious which Dali exhausts, bringing these, his hyperthoughts onto canvas for us to appreciate.
The "paranoia-critica" or hallucinatory theme is actually Dali's psychic mind. Dali has the ability to delve more deeply into it than most of us and bring substance of it into our third dimensional reality.
For the sake of sensationalism (Dali being a clever showman and salesman), employs other terms rather than his "paranoia-critica" for want of better expression of the force behind his portrayals. Among them are his references to the cosmos: "All my painting is only a portion of my cosmogony..." his symbolic gourmandism and cannibalism..."Awareness of reality by means of the jaws"...and: "What does spirituality consist of? Can it be eaten?" ...and: "The sublime fundamental law of our Catholic, apolostolic, Roman and Roumanian religion: To swallow the living God."
The utterances by Dali, can, of course, be analyzed In a myriad of approaches, as can interpretation of the symbolism which sometimes masks Dali's compositions. However, the "paranoia-critica" or hallucinatory fine line between this dimension and others, into which Dali lucidly stretches his mind is the keypoint to his success and most indicative of his constant touch with the psychic. Dali's statements of plunging into his sub and superconscious is, of course, just that. Our superconscious is, most naturally, one of our most immediate realms of the psychic.
Contemplating Dali's more serious works which bear psychic influence appeared to come into creation during his phase in the 1930s. We are immediately attracted to the ethereal quality of his works which other surrealists attempt to execute but are unable to duplicate. His works are not mere collages but in reality, a mirror of how our thoughts and impressions are imprinted, infused and entwined onto the skeins of time and space and how they would appear if we were able to photograph or record them for our physical, third dimensional eyes for evaluation.
It has been stated that Dali, ill and elderly, was suffering from years of strain through exhaustion by his means of touching the super-psychic consciousness for his paintings. This may be so. Intent study of his work will realize not only the symbolism but a veritable "photograph? of a thought or a vision.
The Works of
Salvador Dali
Viewing Dali's "Ecumenical Council," we see a thought as it would appear, when summoned to our minds from the superconscious psychic realm. The impressions we receive during our thought processes are intertwined with all other objects, items or other thoughts relevant to that particular prime or main subject on which we wish to focus. In the "Ecumenical Council," the important feature demanding attention which strikes us is the spiritual theme or body of the Supreme Being, this embodied as a naked male, superseding all through the nebulous etheric haze, it emerges from a classical alcove of the Vatican, seat of Christianity for the Catholic. To the lower left of the Creator, the vague face of a saintly personage whose body is composed of a turmoil of crosses. To the right of the Creator, the face and figure of the Christ is all but lost in its diffusion, save but for the prominent figure of the dove; the Holy Spirit above it. Below, the Ecumenical Council in small proportion, tiny, menial, humanistic, lost in methodical meaningless tradition confuse the thought, scattering it throughout and arises through the earthly planes of the mountains and water at the lower right foreground of the painting.
Gala, Dali's wife (whom he calls his Divine Twin), symbolizes in a realistic, defined figure, holding a cross,t he true spiritual soul in humanly form, overshadowing the vagueness and confusion of the Ecumenical Council. To the left, below, we find Dali, looking directly, knowingly to us, his eyes telling us of those, his prophetic and psychic vision. Not merely his signature, but as the most vivid and closest figure on the canvas, a third dimensional one, facing the vision of this, his psychic thought.
(There's much more, but I'll have to continue later.)
lorraine@theesotericworldnews.com
Last updated on 07/27/07 11:15 AM
