Mephistophina Anima Painting by Faustus Crow

View In A Room

View Fullscreen

Add to Favorites

view additional image 1
view additional image 2
view additional image 3
view additional image 4
view additional image 5
view additional image 6

Art Description

Painting: Watercolor on Paper.

The watercolour painting is A4 in size (210 x 297 mm /8.3 x 11.7 in), which was initially drawn in Derwent and Caran Da'che watercolour pencils on 300g/m Aquafine watercolour paper, then painted, involving some burnishing.

The painting is provisionally entitled: Mephistophina Anima.

My Artist's name is Mardun; whereas my Author's name is Faustus Crow; however, my Art and writing tends to cross-over into one another of an alchemical wedding.

The painting is a reversal of the 'Animus' symbolism of Mephistopheles, who is otherwise depicted as a female, being the 'Anima' of Faust, which, of an all too apparent Entartete Kunst pose, has a deeper meaning beyond the initial reaction.

The Artwork could have been done as an abstract, cubist or expressionistic of unrecognisable form, to make it more palatable to those politically correct sensibilities whose reactions are nigh predictable; but if I had done so, it would be missing the point of what is being communicated.

You have a deified 'Animus' made as a God and a Devil of a patriarchal gender fixation, an example of this is the historic Grimoires, whose numerous Playgirl tomes list all male entities both angelic and demonic, even up to the present, such as Aleister Crowley's illustrated Goetia.

Whereas Faust has his 'Anima.' Should you not understand what the terms 'Animus' or 'Anima' refer to, please look to Carl Jung for further clarification.

In general, the 'Animus' is a male archetype, residing within the female psyche, which determines her attraction to certain males; whereas the 'Anima' is the female archetype residing within the male psyche, which determines his attraction to certain females.

Wherefore all those Venus figurines you find in Palaeolithic caves of Bears were very likely artistically created by proto-Hugh Hefner's.

As for the Entartete Kunst pose, it refers to the Osculum Infame, which is the name of a supposed ritual greeting upon meeting with the (Animus) Devil.

The term, Osculum Infame means The Shameful Kiss, or The Kiss of Shame since it involved kissing the anus and genitalia of (Mephistopheles) the (Animus) Devil.

For a rebellious Faust, who rebels against the 'Animus' fixated religious construct of the patriarchal establishment, the Osculum Infame is not at all shameful of a Coitus Pactum, since he is heterosexual of orientation; wherefore he conjures his 'Fallen Anima,' which of a politically incorrect archetype has been castigated out of the symbolic equation of an overriding religious fixation upon the 'Animus.'

Jung saw the 'Animus' and 'Anima' as being closely aligned with the soul; just as in ancient cultures, who believe the soul to be of the opposite gender to the individual it is connected to.

Whereby, if Faust sublimates himself to blindly worshipping the deified' Animus' he would be selling his 'Anima/soul' in the process; hence Faust rebels against its religious paradigm by conjuring his 'Fallen Anima' to mantra name, Mephistophina.

Mephistophina's costume is derived from Goethe's 'Animus' description of Mephistopheles attire as well as being loosely based upon an illustration of Mephistopheles, as found in the 'Animus' fixated Grimoire, entitled the, Threefold Coercion of Hell; also called, Cabalae nigrae, or the Magia naturalis et innaturalis as well as the Black Raven, which is said to have been authored by Doktor Johannes Faust.

(The Black Raven and the 'Skull and Crossbones' is a reference to the Nigredo stage of alchemy, which is the experience of hypnagogic trance ingress into a lucid dream.)

The Grimoire illustration is listed as being plate 10 in the Threefold Coercion Of Hell, which depicts the first appearance of 'Animus' Mephistopheles, manifesting as a 'fiery Bear.'

However, the motif of the Bear as well as fire in shamanic cultures was often entwined with the feminine principle, being that of the 'Anima.'

For example, female shamans in Siberia are called Udagan, which of a term refers to the Bear and the hearth.

The element of fire is associated with a female deity called Yal un-eke, who is seen to be the mother of fire.

The fire refers to an inner fire illuminating the (Bear) womb 'cave' of the dream, which of an internal light, the alchemists termed as the Albedo, was intuitively sensed to be emanating from a (Yal un-eke) female (Venus figurine) source.

The inner light is the bio-photon, which emanates from the Mitochondrial DNA. The Mitochondrial DNA is passed down from the mother to her children, since the time of the primordial amniotic ocean.

It is within a sixth sense (sexagram) lucid dream Mephistophina is conjured, leading thence to the Osculum infame Coitus Pactum.

When the 'horned' shaman (Faust) awakens from his bio-photon illuminated lucid dream, he is seen to be reborn from the womb of the fiery Bear, which the alchemists termed as the Rubedo stage of the Great Work, a prior Palaeolithic shaman symbolised as red ochre, representing menstrual blood; whereupon you have Mephistophina's red costume.

The symbolism of the artwork is quite literal, since it symbolically refers to a shamanic technique, more so that of rebelling against the literal gender deification of the 'Animus,' whose worshipping minions had initiated the Entartete Kunst and what to have occurred thereafter.




Mephistophina Anima

Faustus Crow


Size: 11.7 W x 8.3 H x 0.1 in

Ships in a Box

Shipping included

7 day money-back guarantee

 Trustpilot Score