Nine Works of Objective Art

Website Created By Phil Norfleet

 

 

Picture Gallery

I have selected nine examples from the visual arts which I believe are genuine examples of "objective" and/or "symbolique" art. Images of all nine works are accessible by clicking on the thumbnail pictures shown below.   Limited discussions of these nine works are accessible by clicking on the hyperlink titles for each work of art.

Great Sphinx of Giza

(1825 X 1598 Pixels)

Temple of Seti I at Abydos

(1630 X 2110 Pixels)

Metternich Stela - 30th Dynasty Egypt

(1619 X 1172 Pixels)

Cathedral of Notre Dame in Paris

(1598 X 2093 Pixels)

La Primavera (ca. 1482) - Botticelli

(2202 X 1456 Pixels)

Apollo on Mount Parnassus (1510) - Raphael

(3056 X 1993 Pixels)

 

St. John the Baptist (1515) - Da Vinci

(2024 X 2748 Pixels)

Isenheim Altarpiece (1515) - Grünewald

(1136 X 801 Pixels)

Liszt at the Piano (1840) - Danhauser

(580 X 401 Pixels)

 

Description of Each Example

Based upon my understanding of the writings of Gurdjieff, Ouspensky, de Lubicz and Jung, I conclude that subjective works of art communicate ideas accessible to all four levels or circles of humanity, but are primarily designed for the ordinary people of the outer circle (lowest level) of humanity.  Conversely, objective (symbolique) works of art are designed to communicate with the three higher circles of humans, i.e., the exoteric, mesoteric and esoteric.  It should be noted that ideas associated with these higher levels may not be reducible to the digital-sequential data streams of which natural language (both oral and written) is composed.

Such objective works of art may be understood differently by each group of people in accordance with their ability to understand at each level of awareness.  Objective art may be appreciated by the ordinary people of the outer circle as being beautiful, pleasant, etc., but the higher knowledge communicated by such works of art is not discernable or understood by people of the outer circle.

Each work is usually described in two parts:

1)  A conventional interpretation including, where possible, a quotation from the writings of a leading "main-stream" art historian;

2)  An interpretation, when possible, by at least one noted alchemist and/or hermeticist.

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