VISIONARY REVUE

      But, as we concentrate on the images along the central axis, a new path is offered us in our meditations. For, all these combinatory symbols manifest masculine and feminine opposites in union. And as we enter through them in succession, we ascend the ladder of vision, and rise up through the Chain of Being, so as to return in our meditations to the Source of creation. The entwined serpents, dragons, and eagles offer us more primordial and animalistic images of unity. Moving from crawling to winged beings, these figures slowly rise upward. The entwining serpents – instinctually, in darkness and unknowing – offer a more primordial vision of unity. Still, as we enter through their image, the serpents transform, acquire wings, and become like the two dragons. As ‘serpents with wings’, the two dragons offer us a ‘higher’ symbol of unity.
      Then, as their wings expand, the dragons merge into the two-headed eagle. Soaring freely across the heavens, seeing all ‘from above’, the doppeladler symbolizes yet an even higher vision of unity. Finally, at the highest rung in the ladder of vision stands man and woman in the form of the alchemical hermaphroditus. This union of two human forms symbolizes the Mysterium Coniuntionis, the alchemical attainment of highest knowledge. As such, we enter through this image into a ‘knowing’ union with the One – now understood as a union of God and Goddess in the Unio Oppositorum.
      As Johfra himself made explicit in his description of this work:



 
 
 


PARIS - SPRING 2003

GEMINI
1975

      “In the representation of the Gemini sign, I have especially stressed duality, and used the problem of duality as its main motif... The task is to find their Unity. Therefore, the painting is built up symmetrically. Everything positive is right; everything negative is left, and arranged on various levels... The two poles come together when duality finds its solution in Unity.”(Astrology p.21)

THE END OF HERMETICISM

      The majority of Johfra’s Hermetic works were executed in the 1970’s. In the last two decades of his life, he continued to paint works that revealed Hermetic themes. Most of these portrayed the resurrection that awaits the spirit after the death of the body. But none of them had the power or, I dare say, conviction of the images just presented here.
      Instead, he seemed to undergo a gradual spiritual transformation, inwhich his thoughts turned more towards the earth itself - to Nature, and to a view of the world expressed by Pantheism.
      In the succeeding article, The Visionary Revue examines The Pantheist Johfra.




 
 
 


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