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Riding The Night-Mare Print

Faustus Crow

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About The Artwork

The term Nightmare originally referred to a Succubus visitation during the Witchng Hours of the Night. Hence the reference to the feminine, Mare. The Night-Mare induces what is technically termed as the Old Hag Syndrome or otherwise called The Bedroom Invader Experience, which is usually experienced by an individual when inadvertently accessing hypnagogic trance at the point of sleep. The experience also involves sleep paralysis, which is quite natural. It is a protective mechanism of the body, which stops the dreamer from physically acting out his/her dreams. However, should the dreamer fear the experience of hypnagogic trance, the dreamer will be confronted by his/her fears made manifest. The growing fear will induce a sensation of a great pressure building up upon the chest-area of the lungs, which pumps out endogenous DMT, when experiencing a fight/flight response, as well as an ensuing feeling of being strangled by an invisible entity. When the fear is overcome, the dreamer can then experience what is termed as an Out Of Body Experience. One of the primary dream Yoga methods for overcoming the fear was by introverting the sexual impulse by prior meditating upon erotic icons, such as to be found in Tantric Tibetan Buddhism. Rather than being fearfully ridden by the Nightmare, the fearless dreamer can ride the 'Night-Mare' into a (OOBE) lucid dream, wherein the dreamer can access retrocognitive memories of past youth to go beyond, or that of precognitive information. The dreamer is also enabled to ride the Night-Mare to any desired Surrealist dream location within inner-space, like that of the Science Fiction character Doctor Who riding his (Mare) TARDIS. The character of Doctor Who was originally based upon the ancient Norse shamanic deity called Odin, who is essentially a (Doctor) Shaman. Odin rode an eight-legged-Mare, named Sleipnir, which was his Night-Mare TARDIS. The scientist, Dr John C.Lilly used a similar technique by utilising the mathematical symbol of a Brownian Operator to ride as his trigger-symbol, when accessing hypnagogic trance. The symbol of which looks like an inverted 'L' like that of a Horse-head chess-piece. Sleipnir enabled Odin to travel the multiverse world-tree called Yggdrassil, when he accessed (Ygg) hypnagogic trance; and like Doctor Who, he could assume many different Avatar guises when travelling without moving, to other dream-worlds within inner-space, while riding his (Pony-Girl) Night-Mare. The transmuted fetish symbolism of the Artwork also refers to the fifty-fifth Succubus archetype of the Fallen 'Anima,' who is mantra named, Orobas, whose name is originally derived from Ouroboros. The Ouroboros is a snake eating its own tail, which describes a time-loop, though there be many multiverse time-loops encircling a myriad number of parallel universe Maya simulations. In the classical grimoires Orobas is described as manifesting as a (Night-Mare) horse within Triangle Of Art visions unto Sexagram sixth-sense Lucid dreams. The utilisation of the Pony-Girl fetish is that of transmuting the mundane hedonic symbolism of the fetish into the spiritual transmundane domain, concerning the Succubus archetype of the Fallen 'Anima.' This is more so the case considering that ancient Shamans across Eurasia unto Siberia associated the dream trigger-symbol of the eight-legged-Mare, with the Spirit-Wife (Succubus/Dakini) complex, who personifies the (Anima/Shakti) power of hypnagogic trance.

Details & Dimensions

Print:Giclee on Photo Paper

Size:12 W x 8 H x 0.1 D in

Size with Frame:17.25 W x 13.25 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Mardun is principally a Surrealist Artist, whose author's name is Faustus Crow; but both art and writing alchemically merge of a sacred wedding. Mardun has an experiential interest in lucid dreaming, which of a neurological phenomenon has inspired artists and authors throughout the ages, from whose creations since the time of the painted cave wall of a Shaman have sprung insights into the nature of reality, which became ensuing mystical traditions, such as the occultism of Aleister Crowley to that of the Surrealist 'fantasy fiction' of H.P Lovecraft. Mardun does not see a division between the practices of art and magic; for both practices deal with symbolism, which is the subconscious language form of surrealist dreams and of your fantastic Imagination, which also inspires your culture.

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