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What is the spiritual meaning of painting?
A painting is the expression of the heart and soul; it transmits cultural messages and the mysteries of the universe. It is born out of the desire of the artist to represent the forms of nature and man through the spirit of the artist as he perceives his world.
What do houses represent in dreams?
To see a house in your dream represents your own soul and self. Specific rooms in the house indicate a specific aspect of your psyche. In general, the attic represents your intellect, the basement represents the unconscious, etc. If the house is empty, then it indicates feelings of insecurity.
What does it mean to dream of someone renovating a house?
Buildings symbolize aspects of our inner architecture. When we are undergoing change and transformation we may dream of making renovations to specific areas associated with the rooms or type of building. We may remodel the kitchen when we are making changes to how we move toward greater fulfillment.
What does the color white mean in a dream?
It also indicates sensuality and moral purity in real life. White: White in dreams can mean holiness and righteousness. Black: Demonic deeds and negative emotions like sin, darkness, mystery and death are some of the interpretations of the color black.
Dream Moods Dream Themes: House
In this guide we will examine the fascinating meaning of colors in dreams.
Dream in colour
According to Robert Hoss, who has extensively studied the meaning of color meanings in dreams and their interpretation, dreams are characterized by the following aspects:
Most people cannot remember their dreams and they perceive them as colorless.
Only 25% of dreamers actually remember colors in their dreams. This is mainly because people only remember the emotionally stimulating parts of the dream but forget the rest.
The colors and shapes in dreams come entirely from internal stimuli, which may be based on the psychological associations the dreamer makes with those objects and colors.
Color meanings in dreams
Based on his studies, Hoss interpreted and assigned the following meanings to color in dreams.
Red
To dream of the color red can indicate something intense, vital, animated, feeling sexy or having sensual urges, a need to go out, feeling assertive or powerful, or having an inflammation or injury.
orange
When you dream of the color orange, you may get a feeling of shaking off shackles, expanding your sphere of influence, restlessness, driven by desires and hopes, wanting more contact with others.
Yellow
Yellow colors in dreams may indicate that one is looking for a solution, has hope for the future, is trying to find a way out of certain circumstances or situations, needs a change to ease oneself.
Green
The color green signifies the need to establish oneself, wanting recognition, being in control of events, wanting what is due, wanting routine without change, needing money for security, needing healing or better health.
Blue
Tranquility, peace and stillness is what the color blue can be interpreted for in dreams. It also means needing rest, a relationship where the dreamer feels familiar and also feels the need to belong.
violet
The color violet means many different things in dreams like mystical union with someone or something, magical state where desires are fulfilled, intimate or erotic feelings and even heightened intuition.
Brown
The color brown in dreams is usually represented as a dreamer seeking physical comfort through food, sleep, sex, etc. a search for one’s roots and true self.
Gray
In dreams, the color gray is symbolic of being neutral or an observer. Gray means shielding yourself from situations and commitments and going through the movements without emotional involvement. It is also an indication that the person is trying to escape from anxious situations or urges that the dreamer cannot usually identify.
Black
Nothing is more complex than interpreting black color meanings in dreams. Shiny and luxurious black colors refer to going deep within yourself to allow the new self to emerge. However, a dream in which the dreamer moves into darkness or blackness means that he is going through a personality change or that he feels threatened by certain situations in his life or that fate has dealt him a blow. The color black is also a representation of the unconscious.
White
White in dreams can be interpreted as novelty, new beginnings, new awareness, or as a feeling of openness and acceptance, unprepared, alone, or isolated.
Biblical color meanings in dreams
According to Jewish and Christian scholars, dreams are one way God speaks to the dreamer. Accordingly, there are many biblical color meanings in dreams.
Red: According to biblical interpretations of color in dreams, the color red means wisdom, but taken negatively, it is anger and war.
: According to biblical interpretations of color in dreams, the color red means wisdom, but taken negatively, it is anger and war. Blue: In the biblical sense, the color blue represents revelation as well as depression, sadness, or fear.
: The color blue stands for revelation in the biblical sense, but also for depression, sadness or fear. Green: The color green stands for prosperity and growth, but also for negative emotions such as envy and pride.
: The color green stands for prosperity and growth, but also for negative emotions such as envy and pride. Brown: Biblically, brown colors in dreams signify that the dreamer is humble and compassionate, but also always willing to compromise.
: Brown colors in dreams biblically mean that the dreamer is humble and compassionate, but also always willing to compromise. Gold or Amber: In the Bible, this color signifies purity, holiness and glory. Among its negative color connotations, gold indicates defilement.
: In the Bible, this color signifies purity, holiness and glory. Among its negative color connotations, gold indicates defilement. Purple: Dreaming in the color purple can indicate royalty and authority.
: Dreaming in the color purple can indicate royalty and authority. Orange: The color orange represents perseverance.
: The color orange represents perseverance. Yellow: Fear, hope or cowardice are some of the meanings associated with the color yellow according to the Bible.
: Fear, hope or cowardice are some of the biblical meanings associated with the color yellow. Pink: The color pink represents the love of God. Red is Jesus’ blood and white is purity, so pink is a combination of these. It also indicates sensuality and moral purity in real life.
: The color pink represents the love of God. Red is Jesus’ blood and white is purity, so pink is a combination of these. It also indicates sensuality and moral purity in real life. White: White in dreams can mean holiness and righteousness.
: White in dreams can mean holiness and righteousness. Black: Demonic acts and negative emotions like sin, darkness, mystery and death are some of the interpretations of the color black.
We hope these color meanings will help you interpret what your dreams are saying.
What does the color blue mean in a dream?
Blue represents truth, wisdom, heaven, eternity, devotion, tranquility, loyalty and openness. Perhaps you are expressing a desire to get away. The presence of this color in your dream may symbolize your spiritual guide and your optimism of the future. You have clarity of mind.
Dream Moods Dream Themes: House
What does green paint mean in a dream?
For example, you could be dreaming about using green paint for your house or a fence. If so, it signifies that you will receive a large amount of money or a big inheritance. Dreaming of a person with green hair means that you will soon get a best friend, either someone you dreamed of or another person.
Dream Moods Dream Themes: House
In general, green in the dream is associated with fertility and a new beginning. It means that something new is coming or that you will learn something unknown or acquire a unique skill. Green is also a sign of prosperity or success and a good omen for the future.
The meaning of green in a dream can change depending on the circumstances of the dream. Let’s see what awaits you when you visit the green color in your dreams.
What is the symbolic meaning of green?
Before we get into all aspects of green color dreaming, it is good to explain the general symbolic meaning of green in order to have a full understanding of the concept behind it and thus have a better understanding of your dreams.
Green symbolizes nature and tranquility. But it is often associated with luck, money and health on the positive side and can represent some negative things like jealousy, envy and illness. In general, however, more positive meanings are ascribed to green.
In many cultures, green represents rebirth, balance, progress, freshness, and in some cases even eternal life. Also from a biblical point of view, green stands for immortality, fertility, resurrection and prosperity.
The meaning of green color in your dream
Dreaming about green colors can have different meanings depending on the objects you are seeing, the circumstances and the context of your dream.
Here are some of the most common and important meanings of the color green:
1. New opportunities in the future
One of the most common dreams is about green grass. If you are one of those who have dreams of standing on green grass, it means that a new perspective is coming your way and in general this is good news. It can be a new job, a proportion, an excellent opportunity to move forward in life.
It can be a new page in your life, a complete change, but for the better. Unfortunately, you may receive a new offer or proposal without knowing that it will have a positive impact on your life. Therefore, after having a green grass dream, consider every proposal that comes your way very carefully before rejecting it.
There are also variations. For example, if the grass is dry in your dream, it can indicate financial problems and that you have missed some opportunities. But on the other hand, it can also mean that you need to neglect yourself on a spiritual level and reconnect with that part of you, possibly through activities that help that part of you.
You can also dream of tall grass and try to cut it. When this happens, you may feel overwhelmed and need to delegate some tasks to other people to find balance again. Seeing the grass burning can mean that you are unable to make decisions about some aspects of your life.
Just lying on green grass is a foreshadowing of a good trip you will have and enjoy.
2. You become smarter
If the green color is paired with an apple, it means that you are becoming wiser and more mature. You grow into a better person and change your perspective on life. Maybe you haven’t recognized your inner change yet.
But green apples in your dreams give you a clue. In addition, they also mean a new inner peace and clarity of emotions. You are ready for innovation and change when you dream of eating an apple.
It means that in the near future you can get new ideas and start new projects in many areas of your life like school, work, family and more. But when you see other people eating apples, it means that every new idea that that person has can be worth investing in.
Apples always meant something forbidden and green symbolized a new level of consciousness. If you dream that you are collecting green fruits in a basket, it means an improved financial situation.
3. You invest in yourself
Green is a color found in almost all plants. So if you have a dream about watering these plants, it means that you are investing a lot in your personal improvement, both mentally and physically.
It means that you are on your way to improving your quality of life, making new positive friends, gaining new knowledge and education, or even joining a religion for spiritual improvement.
In addition, if you dream about overwatering plants, the dream is telling you that you are using your imagination more than necessary. It also means that you are not acting to solve your problem, just asking for advice and suggestions without acting on any of them.
4. You can trust someone
If you dream of someone wearing green, you can think about trusting that person both spiritually and financially in general. But the shades of green in the dream can change their meaning. Likewise, the action you take with a green piece of clothing can also change the meaning of a dream.
For example, if you dream about trying on a green dress or shirt, it can mean that you will get into a new relationship or love story. If you dream of a green hat, it indicates that you will have fun and something to laugh about soon.
If you dream about trying green shoes, it means that you have good opportunities to become a close friend’s company. If you dream of a dark green dress, it indicates that you do not trust people and do not want people around you because you are afraid of betrayal or jealousy.
Instead, light green can signify a close connection to spiritual life and a new level of knowledge. An olive dress portends the possibility of starting a family, getting a new pet, and possibly having a baby.
If you dream of lime green, it means that you will get some new opportunities to improve and grow.
5. Emotional storm inside you
It is common to dream of a green snake in connection with the green color. Snakes in dreams can have numerous meanings depending on what they are doing in your dream.
However, it is safe to say that green snakes represent the dreamer’s spiritual power, while also representing significant emotional conflict in relation to relationships with others. It can even describe a problematic situation in your life.
If you dream that a green snake is attacking you, it means that you don’t feel safe, but you feel threatened around you. It can also mean that you want to embark on a new project but lack the courage to start it or are afraid to take action to change your life situation.
For example, you may be very dissatisfied with your job or career, which means you need to move to another, more demanding profession. If the snake is bisected during your dream, it means that you should not get along socially with other people and strive to treat others better.
Other meanings of the color green in your dreams
You may be able to dream about a green color associated with tons of objects and each one can have a specific meaning. For example, you might dream of using green color for your house or a fence. If this is the case, it means that you will receive a large sum of money or inheritance.
To dream of a person with green hair means that you will soon get a best friend, either someone you dreamed about or someone else. While dying a wig green means you are insecure about yourself and feel the need to do a lot of extraordinary things to get noticed.
Green is also the color of a traffic light at certain moments. So, if you dream about green light, it is a sign that your plans and dreams will become a reality. But be aware that if you dream of a traffic light with all the lights on (green and the others), it means you have to make a decision, but you don’t know which decision is the best.
Conclusion
The green color in a dream can be cheerful on most occasions, but it has many meanings depending on the dream. For example, green is a sympathetic color and people associate it with calm and abundance, and it is often like that in dreams. In addition, if you know the purpose of your dream associated with green color, you can discover many things about yourself, your emotions and your desires.
This article aims to do just that. Much luck!
What do houses symbolize?
The symbolism of the house is associated with enclosed and protected space similar to the mother’s womb. In fact it is the first place in each person’s life. As an enclosed space it serves to shelter and protect from the outside world.
Dream Moods Dream Themes: House
In the 1980s, a new type of city developed, which continued to spread into the 1990s. More than a city and its suburbs and something of a megacity. Author Joel Garreau defines this type of city as “Edge City” and talks about it in his book Edge City: Life On The New Frontier. These cities create many of the new jobs and technologies in America. The author claims that peripheral cities have caused the most sweeping urban change in the way Americans live, work, and play in 100 years. At the end of Mumford’s The City in History, the author concludes that the purpose of the city throughout history has been to increase man’s conscious participation in life. “The ultimate mission of the city is to encourage man’s conscious participation in the cosmic and historical process… This augmentation of all dimensions of life through emotional community, rational communication, technological mastery, and most importantly, dramatic representation, it was the city’s highest office in of history.” He adds that this “remains the main reason for the continued existence of the city”. The central locations in our modern cities – buildings and streets – are the next area we will examine. The streets of cities serve as outdoor space backgrounds and indeed somewhat resemble the canyon and river elements within ecosystems and the larger jungle ecosystem 2. Streets The streets of cities are often thought of as rivers that flow with the stream of life, and rivers are at the bottom of canyons, hidden in the shadow of the towering skyscrapers of modern cities (the mountains) the streets of the inner city are often like canyons. The analogy will be clear to those who have ever visited Wall Street in New York or Montgomery Street in San Francisco. People driving down these roads are like people on the river, like Tom Sawyer and Huckleberry Finn to an extent. Looking out a car window at the different juxtapositions of life on the road is something of an adventure. Raymond Chandler, in Farewell My Lovely, describes a short trip down Sunset Boulevard, through Beverly Hills, and finally out to the Pacific Ocean: “We cruised down the bright mile or two of the Strip, past the antique shops with famous artists’ names, past the windows full Lace and old tin, past the shiny new nightclubs with famous chefs and equally famous arcades run by polished purple gang graduates, past the Georgian-Colonial fashion that is now old hat, past the handsome modernist buildings where Hollywood butchers never stop talking about money, past a drive-thru lunch that somehow didn’t belong, though the girls wore white silk blouses and drum majorette shakos and nothing below the hips but glazed daisy boots This and a wide one , gentle curve of bridleway down from Beverly Hills and lights to the south, all color n of the spectrum and crystal clear on a fogless evening, past the shady mansions on top of the hills to th north, all the way past Beverly Hills and up the winding boulevard at the foot of the hill and into the sudden cool dawn and breeze of the Sea.” In this passage, a journey down a street refers to a miniature adventure story from the harsh, real world of Sunset Boulevard to the romantic world of the shore next to an ocean. Boundaries within cities are marked by streets. This fact has given rise to “street gangs” who guard their territory bounded by streets and kill members of other gangs simply for crossing a certain street into their territory. Streets within cities have created specific groups of people. There are the “street women” and there are the “street people” now known as the “homeless”. The fact is that the road can never be a home because it is not a destination but a line connecting destinations. 3. House and Home There is obviously a close relationship between the symbolism of house and home. Both symbolize the ultimate manifestations of private places in a world of public places. However, home is more of an idea, an idea of nostalgia closely linked to the early period of life, while house serves as the constant embodiment of this idea throughout an individual’s life. We will deal with the idea of the house first and then the idea of the home. The symbolism of the house is associated with a closed and protected space, similar to the womb. In fact, it is the first place in everyone’s life. As a closed space, it serves to protect and guard against the outside world. In The Poetics of Space, Gaston Bachelard writes of the house, observing: “If I were asked to name the main use of the house, I should say: the house shelters daydreams, the house shelters the dreamer, the house enables one to be at peace to dream.” He specifies his ideas with the words: “Now my goal is clear: I have to show that the house is one of the greatest forces of integration for the thoughts, memories and dreams of mankind. The binding principle in integration is the daydream .” Past, present and future give the house different dynamics that often overlap, sometimes opposing, sometimes stimulating. In human life, the house pushes aside contingencies, its councils of continuity are incessant. Without them, man would be a scattered being . It sustains him through the storms of heaven and through those of life. It is one body and one soul. It is man’s first world.” Every house the place of our earliest years and the nurturing cradle of those years. Bachelard remarks that before being thrown into the world, man “is laid in the cradle of the house. And always in our daydreams the house is a great cradle… the bosom of the house.” A house or home can also be viewed simply as a place where we can express a private and unguarded self in an increasingly public world. Like sociologists perhaps observe, the home provides a “backstage” and “private” setting for our “public” appearances in the workplace. Like the home of the original womb, they allow the private self to flourish by escaping the public world. In Place, Modernity and the Consumer’s World Robert David Sack emphasizes this point: “Home doesn’t have to be a specific place or physical structure,” he notes, but rather “is a place where we feel comfortable and can let our guard down. Because it’s harder.” has become to share the public realm, we literally find ourselves more at home in the private realm.” The ideal, Sack said, is a home “as a sanctuary from a heartless world, where the self can flourish.” As Sack notes, in our increasingly consumerist society, the home serves as the primary repository for “commodities that serve to define ourselves and separate our private world from the public world.” In this sense, houses symbolize the life of their inhabitants. Illustrations of this relationship in stories are a common symbol. A well-known illustration is the James Joyce story “A Painful Case” by Dubliners. The house in which James Duffy lives reflects the psychology and personality of its occupant: “He lived in an old, gloomy house and from his windows he could look down into the disused distillery or up along the shallow river on which Dublin was built The high walls of his uncarpeted room were devoid of pictures, he had bought all the furnishings of the room himself: a black iron bedstead, an iron vanity, four cane chairs, a coat stand, a coal bowl, a fender and iron, and a square table , on which stood a double desk, a bookcase made of white wooden planks was mounted in an alcove, the bed was covered with white linens and a black and scarlet rug covered the foot end, a small hand mirror hung over the vanity and stood as the only ornament during the day on the mantelpiece a lamp with a white shade.” The house is “old” and “dark” and its Window overlooks a ‘disused’ distillery. His room is filled with only the bare essentials and the items in it have hard surfaces like the iron bedstead and vanity and a wry practicality. The colors black and white suggest death and infertility at the same time. Joyce writes that “Mr. Duffy loathed anything that indicated a physical or mental disorder.” The house can also represent different layers of the psyche and the inner/outer and vertical dimensions of space symbolism associated with the symbolism of the psyche. Ania Teillard in Il Simolisimo dei Sogni discusses this psychic symbolism. Houses often appear in dreams and the different parts of them have different meanings for individuals. The exterior of the house denotes the outward appearance of man, his personality or mask. The different floors refer to the vertical and spatial symbols. The roof and upper floors correspond to the head and mind and the conscious exercise of self-control. Likewise, the basement corresponds to the unconscious and the instincts. Because food is transmuted in the kitchen, it sometimes denotes the place or moment of psychic transmutation in the alchemical sense. The stairs are the link between the different levels of the psyche, but their particular importance depends on whether they are viewed as ascending or descending. In addition to the symbolism of individual houses, there is also symbolism in late 20th-century phenomena, housing estates and planned communities. If a single house symbolizes an individual life, then planned communities attempt to appropriate that symbolism on a public scale. As Sack in Place, Modernity and the Consumer’s World notes, “With the purchase of a new home, we can acquire a fully designed neighborhood that includes coordinated home styles, landscaping, recreational facilities, schools, shopping malls, and perhaps even security patrols.” And most importantly, these new habitations can be organized around stylistic, architectural, and recreational themes. In Postmodern Geographies, Edward Soja discusses one of America’s primary planned communities, Mission Viejo in California, and notes that the new city of Mission Viejo is: “…partially blocked to remap the sites and people of Cervantes, Spain, and other fantastical hints of the Mediterranean. At the same time, its orderly setting appeals particularly to Olympic dreams. Packed with the most modern facilities and trainers, it has a mission Viejo attracted an elite of sports-loving parents and accommodating children.The skill of determined local athletes was enough for Mission Viejo to surpass 133 of the 140 participating nations in the number of medals won at the 1984 Olympics.Significantly, the community is managed by its developer , who is currently the P Hillip Morris Company is advertised as The California Promise. There is a lot of subtle truth in the adage, “A house is not a home.” Home is an idea while a house is the manifestation of that idea. A house cannot be a home because there is only one true “home” in everyone’s life, just as there is only one time of childhood. Home symbolizes nostalgia for the original place, a place one can never return to. In The Poetics Of Space, Bachelard states that every house one lives in has symbolic elements of the idea of home: “For our house is the corner of the world. As has often been said, it is our first universe, a real cosmos in every sense of the word. When we look at it closely, there is beauty in the humblest dwelling.” Our “first universe” is a temporal rather than a physical place, related to the place of our birth and the first enclosed space in which we lived. But the idea of home repeats itself throughout life as you construct an inhabited space. As Bachelard states: “…every truly inhabited space carries within itself the essence of the concept of home…imagination works in this direction whenever man has found the slightest protection: we shall see how imagination ‘walls’ Shadows are built from the intangible, consoled with the illusion of protection or, on the contrary, tremble behind thick walls, distrust the most steadfast ramparts … Something closed must preserve our memories, but leave them their original value as images, memories of the outside world never will have the same tonality as home, and by remembering these memories we expand our dream treasure.” The longing for the past and the attempt to regain that past has given the idea of home the direction of quests or pilgrimages throughout given life.It has similar symbolism to the legend of the Holy Grail as something representing e was lost and urgently needs to be recovered. But like the Holy Grail, home remains an eternally elusive loot. Of course, the search into a past, where the original home was, is ultimately in vain. The distance from “home” is then not always a question of kilometers, but also a question of time. The 1960s song “Homeward Bound” by Simon and Garfunkel is actually about an attempt to return to that bygone age of innocence. The home they sing about is truly 1950’s America. This search for home has been a constant theme of much twentieth-century American literature and some of our greatest authors, such as Thomas Wolfe in his novels You Can’t Go Home and Look Homeward Angel. But the search for home is not just the province of novelists. In a sense we are all exiles from this symbolic homeland because we are all exiles from a past time in our lives. The novelist Czeslaw Milosz points this out in his introduction to the book Exiles by Josef Koudelka. “Distances can be measured not only in miles, but also in months, years or tens of years. With this in mind, we can see the life of every human being as a relentless movement from infancy through adolescence. Maturity and old age.” This movement takes each of us further away from our original home and the early part of our life to which that home was associated. As Milosz notes, “Every individual’s past undergoes constant changes in their memory, and mostly takes on the traits of an irretrievable land that grows stranger and stranger as time goes on.” All of humanity is therefore banished from this original homeland. “Then what is exile,” asks Milosz, “when everyone shares this condition in this sense .” We are all “exiles” from this original homeland, this original time in life. 4. Agriculture Among the basic cultural professions, agriculture has a very special meaning, since it is the cultural place closest to nature. In A Dictionay Of Symbols, Cirlot notes that This is because farms are outside of cities in the natural world and their activities are in the sacred Sami world, K nospen, flowers and fruits take place. But apart from the location of the courts, the time cycles on the courts follow the cosmic order of the annual calendar. These cyclical sequences of terrestrial events follow the patterns of celestial motion and express a correlation fundamental to astrobiological thinking. The farmer is therefore the guardian of agricultural rites, seeing the “old year” and the “new”. In spiritual terms, this means that the farmer appears as the catalyst of the regenerative and healing forces, forces that connect every beginning to every end, forging bonds that hold time together, as well as the successive seasons and the emerging vegetation. Mircea Eliade, in his book Tratado de historia de las religiones, makes the following observation: “What man saw in the grain, what he learned to use, what he was taught from the example of seeds that change shape when in the ground, that was the crucial lesson… One of the main roots of soteriological optimism was the belief of prehistoric agricultural mysticism that the dead, like seeds buried under the earth, can await to be brought back to life in some other form. In this sense, agriculture was essential not only for the development of the primitive economy, but also as a symbol for the emergence of a cosmic consciousness in man.
[ < Back | Page: 1 | 2 | 3 | 4 | Next > ]What does it mean when you dream about a house you’ve never seen?
You could also have a house dream about a home you have never seen before. Since the house is a symbol of yourself, says George, “It could show you that you could be bigger. If you find more and more rooms in a big house, you may need to be more conscious of pieces of yourself not yet discovered.”
Dream Moods Dream Themes: House
What do dreams about houses mean? “Think of the house as yourself,” says George. The image of a house in a dream can mean different things. It may be a place you’ve never seen before, or maybe it’s your childhood home. It can also be seen in different ways: big, small, neat or falling apart. The meaning of a dream about a house depends on the message the self is trying to convey, she explains.
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What can I learn about myself from dreaming about houses? “Some people might find it helpful if they write down details about their dream home when they first wake up,” suggests George. The size and feeling surrounding the dream home can provide clues as to what your subconscious is trying to reveal.
Are there any tricks to avoid or induce dreams about houses? “Of course, the thought of a house before bed can lead to another dream about a house, but your self knows what to tell you,” says George. You may revisit the same house, be shown a different house, or the dream may use entirely different imagery.
Beyond analysis, what cultural symbolism is found in dreams about houses? The house in your dream could be your childhood home and could have feelings associated with it that you need to revisit. You could also have a house dream of a house that you have never seen before. Since the house is a symbol of yourself, says George, “It might show you that you could be taller. As you find more and more rooms in a large house, you may need to pay more conscious attention to parts of yourself that have not yet been discovered. ”
Who dreams of houses most often? Anyone can dream of a house. A house is a universal symbol common to all people.
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Where do you start decoding a dream about a house? “Jungian psychology isn’t about a dream,” says George. “It’s a very complex look into the soul. Instead of using an isolated dream, think about your dreams over a longer period of time. Describing the house from your dream and the feelings associated with it is the first step.” She advises including as many details about your dream home as you can remember: size, shape, color and condition. These details can help point you in the right direction.
What does it mean when you dream of a house with many rooms?
To dream of discovering new rooms is often a symbol of realising new aspects of your own personality. The analogy is that you thought you knew yourself so well, but suddenly circumstances have arisen that have revealed there is far more to you than you previously thought.
Dream Moods Dream Themes: House
One of the most fascinating dreams is being in a house and suddenly discovering new rooms in it that you didn’t know were there. In a dream, these rooms can be a very pleasant and even exciting surprise, they can be unusually decorated or full of interesting things. At other times, in the dream, these new rooms will feel old and even neglected, as if they haven’t been visited or used in a long time. But most often you will be surprised because you thought you knew this house well and never guessed that rooms like this were here.
To dream of discovering new spaces is often a symbol of realizing new aspects of one’s personality. The analogy is that you thought you knew yourself so well, but suddenly circumstances have arisen that have revealed that you have much more than you previously thought. These types of dreams are a great gift, they challenge you to grow out of previous limited perceptions and to embrace growth and change in your life.
Even if the spaces you discover are old and neglected, it’s still a positive sign that there are aspects of you that you may have forgotten but that still exist as very real parts of you. The fact that you dream of these rooms means that there is still some value in going there. When you have such a dream, it can be helpful to take time to reflect on lessons from the past that may be relevant now. Items you find around the room can give you a clue as to what the message is about. Look for childhood toys, items you might have used at work or school, things that remind you of a close friend or family member who had a special influence on you. Then consider how these may relate to what is going on in your life right now.
Discovering new spaces in a dream invites you to step out of what you have accepted as reality to broaden your horizons. Discovering new spaces can mean learning new skills, traveling to new places or taking on new responsibilities, or it can mean rediscovering something special about yourself and your long-lost history. If you dream of discovering new spaces, challenge you to overcome your self-imposed limitations and embrace a new and exciting way of life that you never thought possible before.
More details about discovering new spaces in a dream can be found here.
What does it mean to dream of a house in disrepair?
Usual meanings: Dream houses often personify yourself. You may feel damaged or that things are deteriorating. Your identity is threatened or something valuable (including time) has been lost.
Dream Moods Dream Themes: House
Frequency: These dreams are fairly common. They can especially occur when you feel a threat to your body or emotional well-being.
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Common Meanings: Dream homes often embody themselves. They can make you feel damaged or that things are getting worse. Your identity is threatened or something valuable (including time) has been lost. The meanings vary depending on the property lost and the nature of the damage.
Questions to ask yourself:
Is your dream home small or spacious? Shabby or neat? Decayed or in good condition?
Are there rooms and rooms in it that you have never seen before?
Which area of the house is at risk? How do you use this area? Why is it important to you? What happened there lately?
Which item is missing? How would you describe it?
Why is the object important to you?
Why do you need it or how do you use it?
What has changed recently in your waking use of this object?
What does it mean when you dream of a house you used to live in?
Sometimes, a dream about an old house shows that there are things which make you sad all the time. These things are holding you back from being successful in life. Remember, these disappointments or failures may be in your past or present.
Dream Moods Dream Themes: House
Well, you’ll know in a moment. Here we will talk about the meaning of the old dream house.
The meanings will always be different because the dream depicts more of what is happening in a person’s life. It shows how you see things happening around you. So expect the meanings to say more about how you’re dealing with your past.
Some meanings may trouble you. Others show that the things you do help you grow in life. Read here to see the nine meanings of this dream.
Dream about a house you used to live in
1. It’s time to move on
This dream is reminding you that it is time to break away from the past. Most often you will dream of buying an old house.
But how do you know it’s old? The appearance of the building and the age speaks a lot about the house.
The dream shows that the story is important, but it does not shape your future days. Your mind wants you to forget your past. So it would be helpful if you focused on building your present and future days.
You may have made some mistakes that won’t let you grow. Well, that’s because you’ve gotten your mind stuck on the past mistakes you’ve made. The goal is to make your future great.
You might dream of a little old house. It also means that you should forget what happened in your past.
Remember, the dream shows that it is time to move on. Learn better from the mistakes of the past and your present and future days.
2. Shows how you see yourself
A dream about an old house can show how you feel about yourself. This can be friendly or hostile.
The only important detail you will remember is the condition of the old house. So you could dream of an old house or a new house.
For example, if you dream about an old house that is in bad shape, it shows that something is wrong. The dream means that you are not satisfied with your current lifestyle.
In this case, the dream comes to you as a warning. It means that you should take steps to make your life better.
If you are not happy, change your attitude. This step is the first to significantly improve your life. After that, look at the things that make your life more comfortable and happier.
But if you dream that the old house is in perfect condition, then you should smile. It shows that your life is going well. Keep up with the things you do.
3. Remove disappointments in your life
Sometimes a dream about an old house portends that there are things that make you sad all the time. These things keep you from being successful in life.
Remember that these disappointments or failures may be in your past or present. Either way, you should get them out of your head.
If you keep thinking about them, they will hold you back. These problems can even affect your mental health.
You may have lost a loved one, a broken heart, or lost your job. Reflect and come out of this sadness stronger.
Also, focus more on things that will help you grow. Remember to bring up things that you think might make you sad. Make things right.
4. Stop neglecting your appearance in public
A dream about an old house shows that you have been neglecting your appearance for quite some time. So it’s reached a point where you should be more concerned about how you look in public.
Most often you dream of an old house in poor condition. Also, this house may have started to crumble.
It means you stopped caring about yourself. What and how you dress in public no longer matters to you. This lifestyle choice you have chosen is now making your image dirty.
Remember that nobody likes to stay in a house that’s falling down because of its looks. The dream is reminding you that people distance themselves from you because of your dress code. Make sure you dress well and look good.
5. Health Alert
There are times when a dream about an old house could represent an image of your current state of health. Here the only thing you will remember is the old house and nothing else. This old house represents your state of health.
The dream came to warn you that your health is in bad shape. Well, the main reason could be that you failed to take care of yourself.
So your lifestyle has worsened your health. It may be because you are using too many illegal drugs, drinking alcohol, eating poorly, or not exercising.
Remember that you still have a chance to make things better. Protect your health. Make sure you are careful with what enters your body.
Your health could also be in bad shape, but not because of your carelessness. Still, make sure you take care of it. Things are getting better
6. You have good health
To dream of an old house could be a message that you are in good health. You will see that in such a dream you are making some changes and renovations in an old house.
The old house in the dream represents your home. These steps you take to make the old house new show how you take care of your health condition.
It shows that you always pay attention to what you eat to improve your health every day in real life. Remember this step is good. Commit to your health every day to live a better life.
7. You are on the right path in life
Also, this dream could mean doing the right things in life while pushing to achieve your life goals. Well, with this meaning you will dream about making an old house look new.
Also, the dream means that you might have been on the wrong path after choosing the right one. You have decided to improve your old habits and become a better person.
The spirits tell you that you are becoming a better person every day. They also use every resource around them to become a better person.
Also, this dream could mean that your actions will make you heal and grow fast. The steps to repairing the house show what you’re doing to heal yourself from a complicated past. It could be that you are recovering from heartbreak or poor health.
You will also grow because you manage your finances wisely. Most often it comes after a period when you have had a lot of debt.
So now you’ve become stable. Make sure you keep up with the same wisdom. It will make you grow.
8. A connection with your past
A dream about an old house could mean reconnecting with your past. In this picture you will dream that you have met people in an old house.
Remember, these are people you know but haven’t seen in a while. It could also be people who created either bad or good memories with you.
If you connect with the past in real life, the dream is a reminder not to live in it. Make sure you keep becoming a different person than you were yesterday.
In other dreams you will dream that you live in an old house. It still shows that you reunite with past events.
But now someone from your past life will come into your real life. You will either meet this person or hear about it from someone else. In no way do you let what you have shared in the past interfere with your current life growth.
9. You lose good relationships
Sometimes an old dream home could mean that you will end some of the good relationships with people. The main thing that you will see in this dream is owning an old house. You can also dream of an old house falling apart.
It can be in your family, the friends around you, or at work. So the picture of you owning the old house shows that you are at odds with people in your life. The quarrels will make you sever those crucial relationships with these people.
But can you turn things around? Yes, it’s possible. It would be best if you were careful about how you speak to and react to the people in your life. When someone wrongs you, make an effort to make peace.
Even if you have already lost a relationship with someone close to you, now the dreams are telling you to fix it. Well, if you don’t, you’ll regret a lot.
Conclusion
Dreams about an old house mainly represent how your past life can either build you up or kill you. You should never allow the past to interfere with your present and future life.
The dream can tell you if your current life is going in the right or wrong direction. It’s up to you now to change it for the better. If you don’t heed some of these warnings, your life will slide into the abyss.
Have you dreamed of old houses? Did these meanings help you understand the message in your old house dreams? Feel free to share your thoughts with us.
What does the colors mean spiritually?
Green symbolizes money, luck, prosperity, vitality and fertility. It is also associated with envy. Green is the color of healing; it is beneficial in all healing situations. In the aura green signifies balance, peace and often indicates ability as a healer.
Dream Moods Dream Themes: House
Aura colors, healing colors
Color is one of the most beautiful and also one of the most underrated aspects of the physical world. We are surrounded by colors, but how often do we perceive the numerous subtleties in the countless shades.
Spiritually, colors can convey both information – as in aura colors, and energy – as in healing. The aura is the spiritual energy field that surrounds living beings and is “visible” to the psychically sensitive.
This short article introduces the meanings generally associated with the most common colors. Use these meanings as a starting point for your own explorations. We are all unique individuals and colors can mean different things to us than to others, just like a piece of music evokes different feelings in different people.
Use colors to highlight the qualities you want to emphasize. Use them in your environment for qualities that you want to emphasize permanently. Wear appropriately colored clothing to promote these qualities in a given situation. You can also use colors simply by visualizing them, whether to enhance their qualities or to use their healing energy for yourself or others.
Red
Red symbolizes energy, passion, strength, courage, physical activity, creativity, warmth and safety. It is also associated with aggression. When healing, use red to bring warmth and burn out diseases. Red is a powerful color and should be used in moderation. In the aura, red signifies materialism, materialistic ambition, a focus on sensual pleasures, and a quick temper.
orange
Orange symbolizes the individual’s relationship with the outside world, the needs and desires of the physical body and the manner in which these are satisfied, the world of work. When healing, orange can increase immunity and sexual energy. In the aura, orange means thoughtfulness and creativity.
Yellow
Yellow symbolizes intellect, creativity, luck and persuasion. It is also associated with cowardice. In healing use yellow to promote clarity of thought. In the aura, yellow signifies intellectual development, either for material or spiritual purposes.
Green
Green symbolizes money, luck, prosperity, vitality and fertility. It is also associated with envy. Green is the color of healing; it is beneficial in all healing situations. In the aura, green signifies balance, peace, and often indicates ability as a healer.
Blue
Blue is the color of spirituality, intuition, inspiration and inner peace. It is also associated with sadness and depression (the “blues”). In healing, blue is used to cool and soothe, both physically and mentally. In the aura, blue indicates serenity, contentment and spiritual development.
indigo
Indigo is associated with psychic abilities. Use indigo in healing for relaxation, calming, and psychic stimulation. In the aura, indigo signifies a seeker, often for spiritual truth.
violet
Purple is associated with power, both earthly and spiritual. In healing, purple is used for mental disorders and also for becoming one with Spirit. In the aura, purple means higher spiritual development.
White
White is associated with truth, purity, purification, healing and protection. It is a good general healing color for removing pain and suffering. In the aura it signifies a high level of achievement, a higher level soul incarnated to help others.
gold
Gold represents understanding and happiness. However, remember that nothing comes from nothing. It is the most powerful healing color, but so strong that many cannot tolerate it at first and must be conditioned to it via other colors. In the aura it represents service to others.
pink
Pink represents unconditional love, love that asks nothing in return. It is also the color of friendship and conviviality. In the aura it means balance between the spiritual and the material.
Brown
Brown is the color of the earth and represents practicality, material success, focus and study. In the aura, it indicates down-to-earthness and common sense.
Black
Black is the absence of color. It represents the unconscious and mysterious. Its visualization can help promote deep meditation. Black also represents evil (e.g. black magic). In the aura it means some kind of blockage or something that is hidden.
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See also The Human Aura: Astral Colors and Thoughtforms – More articles on Colors, Auras, Healing
Literature Recommendations
Color Medicine The Secrets of Color/Vibrational Healing by Charles Klotsche. The Secrets of Color Vibration Healing. A practitioner’s guide to restoring blocked energy in the body systems with specific color wavelengths. From the founder of the 49th Vibration Technique.
Colors of Life, What the Colors in Your Aura Reveal by Pamala Oslie. A colorful spectrum of energy emanates from all beings. Pamala Oslie provides a guide to these aura colors and how they correspond to four main personality types. It also describes 12 combination colors and includes a test to determine your own aura color. With celebrity examples and ways to cultivate new aura colors, this insightful guide can lead to better self-understanding.
Auras An essay on the meaning of color by Edgar Cayce. America’s greatest mystic and healer offers readers the results of a lifetime of observations and personal anecdotes regarding the meaning of auras, including the seven primary colors in the aura and how each is associated with a note on the musical scale, a planet in the sun system, and possible health problems. A fascinating calculation.
What color symbolizes hope?
Yellow is also associated with hope, as can be seen in some countries when yellow ribbons are displayed by families who have loved ones at war. Yellow is also associated with danger, though not as strongly as red.
Dream Moods Dream Themes: House
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Quick Summary ↬ Let’s dive into color theory. We will discuss the meanings behind the different color families and give some examples of how these colors are used. Let’s dive into color theory. We will discuss the meanings behind the different color families and give some examples of how these colors are used.
There are few things in design that are more subjective—or important—than the use of color. A color that may evoke one reaction in one person may evoke the opposite reaction in another, due to culture, past association, or even just personal preference. Receive email updates on upcoming articles.
Color theory is a science and an art in itself, upon which some build entire careers, as a color consultant or sometimes as a brand consultant. Knowing how color affects the majority of people is an incredibly valuable skill for designers to master and offer to their clients.
However, there is a lot behind it. Something as simple as changing the exact hue or saturation of a color can create an entirely different feel. Cultural differences can amplify these effects, with a hue that’s cheerful and uplifting in one country becoming depressing in another.
This is the first part of a three part series on color theory. Here we will discuss the meanings behind the different color families and give some examples of how these colors are used (with a bit of analysis for each). In part 2 we will talk about how hue, chroma, value, saturation, tones, tints and shades affect the way we perceive color. And in Part 3, we’ll discuss how to create effective color palettes for your own designs.
More after the jump! Read more below ↓ Meet Touch Design for Mobile Interfaces, our brand new mobile design smashing book with proven, universal, human-centric guidelines. 400 pages packed with in-depth user research and guidelines you can apply right away. Shipping will begin in early January 2022. Skip to Table of Contents ↬
Warm colours
Warm colors include red, orange, and yellow, and variations of these three colors. These are the colors of fire, autumn leaves, and sunsets and sunrises, and are generally energizing, passionate, and positive.
Red and yellow are both primary colors, with orange falling in the middle (making it a secondary color), meaning that warm colors are all really warm and aren’t created by combining a warm color with a cool color. Use warm colors in your designs to reflect passion, happiness, enthusiasm and energy.
Red (Primary Color)
Red is a very hot color. It is associated with fire, violence and war. It is also associated with love and passion. In history, it has been associated with both the devil and cupid. Red can actually have a physical effect on people by increasing blood pressure and respiratory rate. It has also been shown to improve human metabolism.
Red can be associated with anger, but also with importance (think of the red carpet at award shows and celebrity events). Red also indicates danger (the reason traffic lights and signs are red and that warning signs are often red).
Outside the western world, red has different associations. In China, for example, red is the color of prosperity and good luck. It can also be used to attract good luck. In other Eastern cultures, red is worn by brides on their wedding days. In South Africa, on the other hand, red is the color of mourning. Red is also associated with communism.
Red has become the color associated with AIDS awareness in Africa due to the popularity of the [RED] campaign.
In design, red can be a strong accent color. It can have an overwhelming effect when used too often in designs, especially in its purest form. It is a great color when there is power or passion to be represented in the design. However, red can be very versatile, with lighter versions being more energetic and darker hues being more powerful and elegant.
examples
The bright red of the illustration on the home page of Nacache Design’s website gives the page a lot of energy and vibrancy.
The bright pink of the background on Ming Lab’s website is welcoming and passionate. (2010)
The muted red on Startup Lab’s website is energetic without being aggressive. (2010)
Bigsound Buzz’s website uses a monochromatic design of different shades and tones of red, which in this case creates a poppy retro vibe. (2010)
Build in Amsterdam’s website uses a bright red accent color that immediately draws attention to the center of the page. (2010)
orange (secondary color)
Orange is a very vibrant and energetic color. In its muted forms it can be associated with the earth and autumn. Because of its association with the changing seasons, orange can represent change and movement in general. Orange is also strongly associated with creativity.
Because orange is associated with the fruit of the same name, it can be associated with health and vitality. In designs, orange grabs attention without being as overwhelming as red. It is often seen as friendlier and more welcoming and less intrusive.
examples
Bitter Renter’s bright and bold homepage makes full use of the energy orange can bring to a design.
We Are Not Sisters’ dark orange, oversized typography makes an instant impression. (2010)
The subtle use of orange as an accent color in Christopher Kimball’s Milk Street shows that it can be used in more elegant and conservative designs. (2010)
Sbjct mixes a subtle peach color with a dark orange for a more monochromatic design that still has plenty of energy. (2010)
For the typography, Robin De Niro also uses a very light peachy background with two tones of orange in a much more subtle design.
yellow (primary color)
Yellow is often considered the brightest and most energizing of the warm colors. It is associated with luck and sunshine. However, yellow can also be associated with deceit and cowardice (calling someone yellow is calling them a coward).
Yellow is also associated with hope, as seen in some countries when families who have loved ones at war display yellow ribbons. Yellow is also associated with danger, although not as strongly as red.
In some countries, yellow has very different connotations. In Egypt, for example, yellow represents mourning. In Japan it represents courage and in India it is a color for merchants.
In your designs, bright yellow can bring a sense of happiness and happiness. Softer shades of yellow are often used as a gender-neutral color for babies (rather than blue or pink) and toddlers. Bright yellow also conveys a calmer feeling of happiness than bright yellow. Dark yellow and golden yellow can sometimes look aged and can be used in designs where a sense of permanence is desired.
examples
Kettle’s not-quite-real yellow is vibrant and vibrant without being overwhelming. (2010)
Deskpass uses a slightly darker yellow, giving it an eye-catching but slightly muted look. (2010)
Toyfight uses a light goldenrod background but otherwise keeps its design simple and straightforward.
Milano Contract District’s website is simple and minimal, with the overall impact of the design relying on the bright yellow background.
Susa Ventures uses a goldenrod color as an accent color in their typography to great effect.
cold colors
Cool colors like green, blue, and purple are often more muted than warm colors. They are the colors of the night, of the water, of nature and usually have a calming, relaxing and somewhat reserved effect.
Blue is the only primary color within the cool spectrum, meaning the other colors are created by combining blue with a warm color (yellow for green and red for purple).
For this reason, green takes on some of the characteristics of yellow and purple some of the characteristics of red. Use cool colors in your designs to convey a sense of calm or professionalism.
Green (secondary color)
Green is a very down-to-earth color. It can represent new beginnings and growth. It also signifies renewal and abundance. Alternatively, green can also represent envy or jealousy and lack of experience.
Green shares many of the same calming qualities as blue, but it also contains some of yellow’s energy. In design, green can have a balancing and harmonizing effect and is very stable.
It is suitable for designs related to prosperity, stability, renewal and nature. Lighter green is more energizing and vibrant, while olive green is more representative of the natural world. Dark green is the most stable and representative of prosperity.
examples
The website for Memory is Our Homeland uses a teal hue energized by the yellow typography without being too garish.
The Rhythm of Food website uses a light kelly green that is ideal for a website that blends food and information.
Rich hunter green is a great accent color on an elegant restaurant website like Le Farfalle Osteria. (2010)
Anna Rosa Krau’s website has a soft sage green background that looks almost neutral for this portfolio.
HelloMind’s light green background is youthful and conveys a sense of growth (in line with their product for improving your brain function).
Bold and modern, Studio Farquhar’s lime green accents stand out with their minimalist layout.
Blue (Primary Color)
Blue is often associated with sadness in the English language. Blue is also commonly used to represent calm and responsibility. Light blue can be refreshing and friendly. Dark blue ones are stronger and more reliable. Blue is also associated with peace and has spiritual and religious connotations in many cultures and traditions (for example, the Virgin Mary is generally depicted in blue robes).
The meaning of blue depends heavily on the exact shade and hue. When it comes to design, the exact shade of blue you choose has a huge impact on how your designs are perceived. Light blue often has a relaxed and calming effect. Light blue can be stimulating and refreshing. Dark blue, like navy, is excellent for corporate locations or designs where strength and reliability are important.
examples
The light blue background of the website home page with the Future of Design survey results stands out and is then used as the accent color for the rest of the website. (2010)
Versett uses a light blue as the primary color on its website, along with a range of other light hues to differentiate different areas. (2010)
Deep Mind’s website uses different shades of blue for its background, giving it a trustworthy, authoritative feel. (2010)
Purple (secondary color)
In ancient times, the dyes used to create purple hues were extracted from snails and were very expensive, only royalty and the very wealthy could afford them.
Purple is a combination of red and blue, inheriting some attributes from both. It is also associated with creativity and imagination.
In Thailand, purple is the mourning color for widows. Darker purples are traditionally associated with wealth and nobility, while lighter purples (like lavender) are considered more romantic.
In design, dark shades of purple can convey a sense of wealth and luxury. Light shades of purple are softer and associated with spring and romance.
examples
The first project in Filippo Bello’s portfolio uses a purple color scheme that enhances the sense of creativity. (2010)
The website for the One Shared House documentary uses a vibrant shade of purple and accents of pink to convey a sense of energy, creativity and imagination.
On the content stack, purple red works well as an accent color against a neutral background, drawing attention to important page elements like buttons.
Purple is the perfect shade for a creative endeavor like KIKK Festival 2016.
neutrals
Neutral colors often serve as a background in design. They are often combined with lighter accent colors. However, they can also be used alone in designs and create very sophisticated layouts. The meanings and impressions of neutral colors are much more influenced by the colors surrounding them than warm and cool colors.
Black
Black is the strongest of the neutral colors. On the plus side, it is commonly associated with power, elegance, and formality. On the negative side, it can be associated with evil, death, and mystery. Black is the traditional color of mourning in many western countries. It is also associated with rebellion in some cultures and associated with Halloween and the occult.
Black, when not only used as an accent or for text, is often used in fancier designs, but also in very elegant designs. It can be either conservative or modern, traditional or bohemian, depending on what colors it is paired with. In design, black is often used for typography and other functional parts due to its neutrality. Black can make it easier to convey a sense of sophistication and mystery in a design.
examples
The faded black (technically dark gray, but close enough to black that it makes sense to classify it as such) of the DUA website works beautifully in such a minimalist design. (2010)
The black background of the Anonyme Hamburger Gesellschaft is a perfect canvas for the site’s amazing food photos. Anonymous Hamburger
Many of the images in Timothy Saccenti’s portfolio are dominated by black, which is also the color of the transparent menu, giving the entire site a quirky, modern feel. (2010)
Minimalist design with black as the accent color gives Heco’s website a super modern feel.
The black hue used here along with the animation gives it an edgy, almost spooky feel.
White
White is on the opposite end of the spectrum from black, but like black, it can pair well with almost any other color. White is often associated with purity, cleanliness and virtue. In the West, white is commonly worn by brides on their wedding day. It is also associated with the healthcare industry, specifically doctors, nurses, and dentists. White is associated with goodness, and angels are often depicted in white.
However, in much of the East, white is associated with death and mourning. In India, it is traditionally the only color widows are allowed to wear.
In design, white is generally considered a neutral background that gives a bigger voice to other colors in a design. However, it can help convey cleanliness and simplicity and is popular in minimalist designs. White in designs can also represent either winter or summer depending on the other design motifs and colors that surround it.
examples
Black & Wood uses white as both a background and accent color (e.g. in typography), giving the site a very clean feel. (2010)
The predominantly white background of Nuno Coelho Santos’ website adds to the modern aesthetic.
Skylark’s website used white typography to give the site a cleaner feel without going minimalist in the design itself. (2010)
Spent used white typography to give the site a modern yet soft look. (2010)
Dwell uses white as an accent color on its welcome page, a very unique but effective choice for something that includes a CTA. (2010)
Gray
Gray is a neutral color that generally falls on the cool end of the color spectrum. It can sometimes be seen as moody or depressing. In some designs, light shades of gray can be used in place of white, and dark shades of gray can be used in place of black.
Gray is generally conservative and formal, but it can also be modern. It is sometimes considered the color of mourning. It is often used in corporate designs where formality and professionalism are paramount. It can be a very sophisticated color. Pure grays are blacks, although other grays may contain blues or browns. In design, gray backgrounds are very common, as is gray typography.
examples
The Round website is very modern, with different shades of gray used to delineate different areas of the website. (2010)
The gray background on the office-only website is so subtle it appears almost white, giving the site a very modern look. (2010)
Gray is given a sophisticated yet down-to-earth feel on the Shinola website. (2010)
Gray is a perfect background color for a portfolio of illustrations. (2010)
Brown
Brown is associated with earth, wood and stone. It is a completely natural color and a warm neutral. Brown can be associated with dependability and dependability, with steadfastness and down-to-earthness. It can also be considered boring.
In design, brown is often used as a background color. It can also be seen in wood textures and sometimes in stone textures. It helps add a sense of warmth and health to designs. It is sometimes used in its darkest forms as a substitute for black, either in backgrounds or in typography.
examples
Trefecta uses warm brown as the accent color for buttons and CTAs, an unexpected choice given the modernity of the rest of the design. (2010)
The off-white background and brown typography of Yasuhiro Yokota’s portfolio website is warm and earthy, but still serves as a good backdrop for grayscale design work.
Off & On Barber Shop uses various brown elements for most of its website, giving it a vintage feel. (2010)
Umbert Cessari’s website uses different shades of brown as accent colors throughout, giving it an earthy vibe. (2010)
Green Rebel’s website uses brown for much of their typography and graphics, as well as some of the textures, giving it an organic feel. (2010)
Beige and light brown
Beige is somewhat unique on the color spectrum as it can take on cool or warm tones depending on the surrounding colors. It has the warmth of brown and the coolness of white and, like brown, is sometimes perceived as dull. It is a conservative color in most cases and is usually reserved for backgrounds. It can also symbolize piety.
Beige in design is commonly used in backgrounds and is often seen in backgrounds with a paper texture. It takes on the properties of the surrounding colors, which means that it itself has little impact on the final impression a design makes when used with other colors.
examples
People Map’s website uses a more golden brown tone that gives the website an upscale feel, especially when combined with the website’s typography.
Plane Site’s warm beige background color has a modern feel without appearing minimalist. (2010)
La Pierre Qui Tourne’s website uses a variety of brown tones for their primary color palette, along with some great bright colors for a very fun design.
Mile Inn’s website combines modern typography with a beige and black color palette for a website that feels retro and hip. (2010)
The brown accent color used on this page is totally unexpected and gives it a mid-century modern look.
cream and ivory
Ivory and cream are sophisticated colors with some warmth from brown and lots of coolness from white. They are generally quiet and can often evoke a sense of history. Ivory is a calm color with some of the purity associated with white, although slightly warmer.
In design, ivory can bring elegance and tranquility to a place. It can take on an earthy quality when paired with earthy colors like peach or brown. It can also be used to lighten darker colors without using the stark contrast of white.
examples
The almost imperceptible ivory background of Stefanie Bruckler’s portfolio page is a welcome change from the typical neutral gray and gives it a timeless look. (2010)
Rich cream feels like a very modern and even edgy accent color when used with a black background.
Cream is an unexpected background color for a tech-focused website, but gives it a warm, human touch.
Considering how weird The Lobster movie is, the website’s use of a pale cream background is an unexpectedly muted choice that feels very modern. (2010)
Sweet Magnolia Gelato’s rich cream background is a perfect neutral for a warm and inviting design.
Shortly
While the information contained here may seem a little overwhelming, color theory is more about the feeling that a particular hue evokes than anything else. But here’s a quick guide to the general meaning of the colors discussed above:
Red: passion, love, anger
Passion, Love, Anger Orange: Energy, Happiness, Vitality
Energy, Happiness, Vitality Yellow: Happiness, Hope, Deceit
Happiness, hope, deceit Green: new beginnings, abundance, nature
New beginning, abundance, natural blue: calm, responsibility, sadness
Calm, Responsible, Sadness Purple: Creativity, Royalty, Wealth
Creativity, Royalty, Wealth Black: Mystery, Elegance, Evil
Mystery, Elegance, Evil Grey: Moody, Conservative, Formal
Moody, conservative, formal White: Purity, cleanliness, virtue
Purity, cleanliness, virtue Brown: naturalness, wholesomeness, reliability
Nature, Wholesomeness, Reliability Tan or Beige: Conservative, Pious, Boring
Conservative, Piety, Dull Cream or Ivory: Calm, elegant, puristic
The whole series
More resources
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What do colors symbolize in dreams?
Colours and their meanings in dreams:
Black and white play significant roles in dreams because they have their own meanings, but they also have influence on other colors as well. White purifies other colours, and black adulterates them. Black represents fear.
Dream Moods Dream Themes: House
We often claim to have dreamed in color, but when questioned we cannot say clearly what colors we dreamed in or what the color of a particular object or something was. Each color has its own symbolism for each of us. Colors play an important psychophysiological role in our lives.
Dreaming is fairly visual in nature, but those who have heightened awareness of color while awake may be more likely to recall their dreams in color than their less color-aware peers. Dreams cannot be captured or encapsulated, they are subject to the filter of consciousness making them difficult to study. In our waking state, colors stimulate emotions. Colors also stimulate emotions in dreams.
Scientific SEM studies have proven that we tend to dream in colors but don’t always remember them. The meaning of colors in dreams is not only an indication of the dreamer’s emotional state, but also of one’s own personality traits.
According to Robert Hoss, who has extensively studied the meaning of color in dreams and their interpretation, dreams are characterized by the following aspects:
1. Most people cannot remember their dreams and therefore perceive them as colorless.
2. Only 25 percent of dreamers remember colors in their dreams. This is because people can only remember the emotionally stimulating parts of the dream.
3. The colors and shapes in dreams come entirely from internal stimuli, which may be based on the psychological associations the dreamer makes with these objects and colors.
Colors and their meaning in dreams:
Brown stands for practicality
Burgundy represents wealth and success
Cream means acceptance
Green stands for vitality
Gold relates to spiritual healing
Gray represents rejection, a lack of commitment, or a depressed state
Indigo stands for clairvoyance
Ivory refers to tainted purity
Purple indicates responsibility
Mauve means endurance
Maroon represents courage and strength
Navy blue indicates a lack of individuality
Orange stands for energy, drive and ambition
Peach represents empathy
Pink indicates the desire for unconditional love
Purple can refer to a spiritual leader or teacher
Red represents passion while dark red represents anger
Scarlet is lust
Silver stands for intuition
Yellow is an intellectual color, dark yellow
stands for clouded thinking and light yellow for enlightenment
Black and white play a significant role in dreams because they have their own meaning, but they also affect other colors. White purifies other colors and black distorts them.
Black represents fear. Hate, fear, guilt, depression, lack of hope, lack of faith and nothingness.
White represents enlightenment, hope, faith, purity, trust and perfection.
Together they can represent extreme beliefs or perceptions. The images and events in the dream play a significant role in interpreting the meaning of colors. For example, a yellow hue can represent energy, but it can mean illness or betrayal in others.
However, interpreting a dream using only color can give inaccurate results. It is important to consider other symbols and your relationship with the colors you dream about.
The author is a tarot reader and spiritual mentor
What is spiritual function of art?
It links man and spirit. It heals and makes whole by making connections. The creative artist who first sets down the vision, the performing artist who takes up that vision and brings it to life, and the members of the audience when they become active participants — all are links in the chain of artistic creation.
Dream Moods Dream Themes: House
What is religious function of art?
The fundamental function of most religious art is as religious pedagogy to illustrate bodily postures and gestures or a story or dogma of a religious tradition, as do visual symbols and representational imagery.
Dream Moods Dream Themes: House
ART AND RELIGION is a distinct field of multidisciplinary studies concerned with the creative interplay between image and meaning making as religious activities. A more general use of the term means investigations into the role, place or experience of art in religion(s).
As a form of creative expression, communication and self-definition, art is a primal facet of human existence and a constitutive factor in the evolution of religion. Art, through visible expression and form, gives meaning and value to anthropic endeavours, encounters and narratives, while at the same time orienting the human being in the horizon of community, world and cosmos. Art makes the human situation – origin, existence, death and the afterlife – comprehensible through visual representations. As a stimulus to creativity and culture, religion is the spiritual impulse that connects humanity to the divine through spiritual experience, ceremony and mythology. Art and religion converge through ritual practice and presentation of sacred narratives, thereby producing “an experience of the numinous” (Otto, 1923). Enigmatically, art can recognize and project the essence and meaning of a spiritual experience through form, creating a tangible record that informs the initiation or repetition of the original spiritual moment. Accordingly, art employs visual archetypes and idealizations in the journey to truth and beauty, thereby offering visions of the sacred and models to follow on the path to salvation. As a visible religion, art conveys religious beliefs, customs, and values through iconography and depictions of the human body. The basic principle for the connections between art and religion is the reciprocity between image and meaning as the creative correspondence of the human with the divine.
The intimacy between art and religion has prevailed across historical entanglements, transformations and permutations of global cultural and religious values. Impossibly difficult to label with a universal standard, the intercommunion between art and religion has endured spread, diversification, and diminution through the cultures and religions of the world. Nonetheless, this impossible regularization or definition of art and religion in any form, communal or universal, can be interpreted as appropriate to such an amorphous entity as art and religion, and reflects their fundamental heuristic and multivalent nature. From their inexplicable differences within individual cultures to their inherent and unconscious manifestations in the human psyche, the numerous interactions between art and religion endure even to the point of their camouflaged survival in the secular societies of the 20th and 21st centuries.
overview
Art has power in the anthropological sense of mana. This troublesome and characteristic feature of art, and accordingly of images and images, manifests itself in its power to evoke or affect the human ability to feel. The characteristically human ability to feel, to have feelings, extends beyond simple emotions to the ability and sensitivity fundamental to the human ability to interpret and reason. This combination of art and feeling is privileged by the designation of the philosophy of beauty as “aesthetics”. The English word aesthetics derives from the Greek root aisthetikos, meaning “to be sensitive” in the etymological context of “knowledge through the senses”. Conversely, an anesthetic bans the human ability to feel. The universality of this association of art as an influencer of emotions and sensibilities and as a link to religion is evidenced in Bharata Muni’s treatises on art. His understanding of rasa as levels of human consciousness formed through art, in which the aesthetic for artist and viewer merges with the spiritual, is crucial to the Hindu doctrine of the indivisibility of art and religion. This ability to effect feelings as either emotions or sensations is an elementary motive in the intellectual “art anxiety” that led to the denial of the visual both as the primary answer to the epistemological question and as the primary evidence for the study of history.
The decisive preference, at least in the West, is the primacy of the text, i.e. the word over the image. Religious historians supposedly advocate the unconscious act of selection between image and word by every religious tradition, with corresponding cultural consequences. Religions that favor the primacy of the image, such as Hinduism and Eastern Christianity, are distinguished as sacramental, creative, and intuitive in linguistic and cultural attitudes from those religions that favor the primacy of the word, such as Protestant Christianity and Judaism, and labeled as legalistic become , pragmatic and rational in the linguistic and cultural reception. Furthermore, the study of religion, particularly in the West, is based on the authority of the written text or set of texts, not the image. Disciplined reading of these canons involves exegesis as a basis for study, debate, and interpretation. A hegemony of texts, canons, and scripts—that is, the written word—leads to art being included simply as illustration to explain and disseminate textual themes.
Religious studies publications of the late 20th and early 21st centuries show an interest in incorporating new themes, focuses and methodologies in light of the knowledge about religion accessible through a variety of new disciplines, particularly interested in the religious dimensions of art, material culture, popular culture and visual culture. These new styles of analysis encompass “activities”, including worship, personal piety, public rituals, and all styles and levels of art, consistent with the intellectual interpretation of the canon to provide a broader understanding of religion. Although acknowledged as a contribution to religious meaning and direction, the partnership of art and religion remains a complex mystery. Art as both an object to be analyzed and experienced is recognized as a force for artists and viewers to transcend the everyday existential and the rational in a transient connection with the sacred, whose experience is so unique that it inspires a desire for repetition and the ritual emphasizes the character of the art.
Art is simultaneously an objective and a subjective event – what is seen and the effect of seeing. This interchange between art and religion, in alignment with the fundamental reality of their heuristic and mutually beneficial mien, challenges the logocentricity of traditional, especially Western, scientific and cultural values that normatively distances religion from art. This Enlightenment principle of separating the experience of art from the intellectual analysis of religion corresponds to the transfer of religious meaning from institutional to non-institutional settings. The intellectual separation of scientific religious studies from religious practice and the experience of art is analogous to the separation of scientific art history from creating and encountering art.
The practice and study of art and religion
The position of art – whether within the broadest framework of religious studies or a specific category such as church history or the history of Buddhism – finds a useful parallel in the traditional distinction between the study of religion and the practice of religion. This dichotomy, applicable to both art and religion, transcends the categories of objectivity and subjectivity, for “doing” religion (or art) is physically and intellectually distinct from “thinking about” religion ( or art). Telling distinctions here include the recognition of class, gender, and ethnicity, as well as education, and the disclosure of the privileging of the study of religion, and of art and religion as a Western scientific phenomenon. The practice of religion is primarily located in worship and in religious education or catechesis, in which the art envisions established narratives, either iconographically or figuratively, to convey religious ideas and practices, to convey religious truths and practices, and to personalize and personalize worship to promote collectively.
Historically, Western scholars, particularly those fascinated by religious art or what they may have identified as connections between art and religion, emphasized the primary role that art played in religious practice, for example an altarpiece or bronze sculpture by Śiva Nataraja, and were unaware that this type of study could be read as restrictive, exclusive and narrow-minded. Further difficulties of interpretation arose because these scholars—including theologians such as Roger Hazelton (1967) and Paul Tillich (1987) and art historians such as Jane Daggett Dillenberger (1986/1998) and Timothy Verdon (1984)—were committed members of the religious communities whose art became examined. This style of scholarly inquiry is better identified as theology and art, rather than art and religion. The importance of both the choice of category names and the order in which they are arranged – i.e. art and religion as opposed to religion and art – says more than the focus of intellectual attention.
Traditionally, the academic study of religion has been characterized by the suspension of personal commitments of faith, so that the scholarly decoding and evaluation of art and religion encourages the innocent eye to be open to the multivalent meanings and influences of art on religion and of religion on art , without bias or prejudice. This is not to imply that the artwork is neutral or benign, as art is not conceived or executed in a vacuum. The meaning of art, regardless of medium or critical evaluation, is its cultural embedding, through which it enables reflection on past cultural histories, connection with contemporary cultural attitudes, and projection of emerging cultural values. The underlying ambiguity in the reading or perception of art attests to its heuristic and multivalent nature.
Art, particularly religious art, is the outward expression of the artist’s personal vision, and under normal circumstances a work of religious art, whether identified as Christian, Jain or Aboriginal, is initiated from an identifiable commitment to faith and communicated in the vernacular of that faith community. For example, in his masterful Isenheim Altarpiece (1515: Musée d’Unterlinden, Colmar), the 16th-century German artist Mathias Grünewald depicts a number of important biblical episodes from the life of Jesus of Nazareth for the hospice at the Antoniterkloster in Colmar. Grünewald added specific visual cues so members of that religious community could “read” its meaning and other Christians familiar with either the biblical narratives or the liturgical celebrations of Christmas and Easter could access this artwork. The Isenheim Altar works as a visual theology within a clearly defined religious tradition that reflects their religious practices and beliefs. At the same time, the “outsider”, visitor or the curious can see this artwork as an invitation or introduction to a specific religious vocabulary and landscape of religious visions.
Traditionally, the “voice of authority” for religious scholars, particularly in the West, has been a canon – a set of written texts, including a scripture, commentaries on that scripture, and doctrinal or conciliar decrees. However, the “reality” of religion is more complicated given the transmutations and permutations of history, geographical expansion, and the constant presence of the human element, particularly the collective of believers, many of whom were illiterate and therefore untrained in the intricacies of textual exegesis and theological musings. A religion that is to be fully understood and understood by both the faith community and scholars requires the presentation of its multiple dimensions from iconography to canon, from theological tomes to devotional prayers. Such coordination of the elite and the secular reconstructs the meaning of religion, as texts are accessible to scholars, while art, which generally ranges from icons to devotional hymns and liturgical dance to folk art, poetry and moral tales, offers an inclusive and inclusive reading 14th-century Western Christianity in accordance with the “authoritative texts”.
critical questions
Regardless of the methodological approach or religion studied, studies of art and religion have been initiated from two critical, often implicit questions: “What makes art religious?” and “How is religion artistic?” Since the 1970s, arts and religion studies have incorporated several other critical issues into the approach in both research and publication. These critical questions influenced the direction of the study and interpretation process. Among these critical questions is primarily the question of the “starting point” of an investigation of art and religion. The selection ranges from a single work of art or a group of works, to an artist or a group (school) of artists, to a specific historical or religious event, a new religious teaching or a unique iconographic motif. The second critical question is which art to study. Each investigator develops a set of criteria to distinguish art as high or low, art as popular culture, art as material culture, and art as an element of visual culture. What matters is whether the focus of study is a traditionally defined work of art or one of the art domains such as folk art, photography or popular culture. The third critical question is that of procedure, for example addressing a specific historical issue such as that of the process of secularization, the meaning of Christian art as the “bible of the poor” or the implications of political power and authority for religious art. The fourth critical question was formed by the academic recognition of “the marginalized”—those previously little-studied groups, including women, racial and ethnic minorities, class, and gender—whose art has recast traditional art-historical categories, not simply by introducing new iconographies or styles, but by the nature of their understanding of art and religion in their respective societies and cultures.
With the dawn of the new century, arts and religious studies have articulated new critical questions arising both from contemporary events and from a growing global recognition of the broader ethical and societal responsibilities for cultural heritage. The recent loss of religious artworks to natural disasters, war, and violent acts of iconoclasm has drawn attention to religion’s role in fomenting or silencing acts of destruction, whether through environmental neglect or military activity. Further analysis of the religious significance and cultural value of the works selected for destruction is a subject for new studies from the perspective of art and religion. The related critical question for art and religious studies is that of the complex ethical and moral issues of “stealing” or transferring art from one country to another for reasons of protection or military conquest and the possibility of repatriation. Another new critical question, possibly related to the main question “What makes art religious?” and which at the same time touches on the ethical quagmire of ownership, is the collecting and display of religious art in institutional settings such as public museums and special exhibitions, that is, in places and for purposes distinct from the sacred criteria for which they were created and perhaps consecrated.
The nature of the relationship(s)
The often controversial and amorphous connections between art and religion offer five characteristic relationships that can be categorized as distinguished by power (Apostolos-Cappadona, 1996) and that go beyond mana to include economic, gender, political, social, and religious concepts of power. The first is authoritarian, in which art is subject to religion. The authoritarian relationship leaves no room for artistic creativity, individuality, or originality; Rather, art and artists are controlled by the higher authority as art becomes visual propaganda. The second relationship is that of opposition, in which art and religion are equals, and while neither dominates nor is subordinate to the other, there is a constant struggle to subjugate the other. The third relationship is one of reciprocity, when these two “equals” inhabit the same cultural environment in a symbiotic union of inspired caring. The fourth relationship is separatist, as each acts independently of and without regard for the other, as in an iconoclastic religious setting or secular culture. The fifth relationship is united such that their individual identities merge so completely into a single entity that it is impossible to distinguish what is art and what is religion.
As a consequence, if not a consequence, of the fact that there is no universally accepted definition of art or religion, none of the world’s major religions have a historically consistent attitude towards art. These cultural and geographic differences, even within a religion such as Islam and Buddhism, confirm that some or all of these five relationships between art and religion exist either simultaneously or in chronological order in a religious tradition. In his now classic Sacred and Profane Beauty: The Holy in Art (2005 [1963]), Gerardus van der Leeuw (1890–1950) viewed the nature of the arts in relation to religion and explicitly identified Christianity as a religious site , where all five relationships between art and religion can be identified.
Religious attitudes towards art
Every religious tradition has an attitude towards art and thus towards the image. Some are formalized in written canons, hierarchies, dogmas, creeds, and liturgy, while others are based on oral tradition, ritual, and mythology. The basic modes of religious attitudes toward art are iconic (approval), aniconic (acceptance), and iconoclastic (denial or rejection). The iconic pose locates the image in representational or anthropomorphic figures of identifiable and known reality, as evidenced by the Byzantine icons of Mary as Theotokos or Jesus Christ as Pantocrator. Taken to the extreme, however, the iconic religious stance is frivolous with idolatry. The aniconic attitude defines the image as a symbolic or allusive representation of sacred reality, illustrated in non-representational imagery to facilitate contemplation, devotion and worship, as evidenced in the elegant calligraphy of illuminated Islamic manuscripts or the Śiva liṅga. Taken to the extreme, the aniconic religious stance borders on total abstraction and thus the utter absence of form. The iconoclastic attitude completely rejects imagery and imagery in any media, style, or form, as exemplified in the otherwise imageless settings of Jewish synagogues and many Protestant churches. Taken to extremes, the iconoclastic attitude is the violent destruction of all imagery and imagery, sacred and secular.
Although these three religious attitudes toward art can be outlined, it is rare in the history of a religious tradition that it operates without some variation in its attitude(s). As with all theories and constructions in art and religion, there is a coexistence of multiple religious attitudes towards images, either in a historical evolutionary process or simultaneously, such that patterns evolve: iconic to iconoclastic to iconic; iconic to iconoclastic; iconic to aniconic; aniconic to iconoclastic; or aniconic to iconic. Buddhism is one of several world religions that have historically had these three religious attitudes toward art. Originally aniconic, Hinduism slowly assimilated the image into worship and devotional practice, eventually establishing a complex religious iconography composed of representative and symbolic elements. The operative principle is that as each world religion develops, so does its basic attitude towards art. Certain religions, such as Christianity and Buddhism, have held a variety of attitudes toward image. The earliest Buddhist teachings were aniconic, while Zen Buddhism is iconoclastic. However, contacts with other cultures, including Hellenism, and expansion into other geographic regions meant that Buddhism’s initial aniconism evolved into a bifurcation of iconic and iconoclastic religious attitudes. This Buddhist dichotomy is exemplified by the use of iconic and aniconic forms in those Maṇḍalas, which are ceremonially created and then ritually destroyed. Furthermore, within several world religions there is a fundamental ambiguity, as the hierarchy affirms the prohibitions or prescriptions enunciated in written texts, dogma or creeds, while the practice of the collective of believers worships an unconsecrated yet marvelous image.
The worship of art
Images are either inherently venerable or are sacralized through an act or ceremony of consecration. The primary classification of native venerable images are those unique sacred images known as acheiropoietai (from the Greek for “not made by hand”). Believers recognize these particular images as divinely inspired and divinely created because they are either discovered fully in nature, including the Acheiropoietai images of Buddha, Śiva, or the Black Madonna of Montserrat, or those Acheiropoietai reported to have been found “Fallen” from heaven to earth like the iron Thokchaks in Tibet and the Black Stone in Mecca. A second type of acheiropoietai are those formed by direct divine imprinting on cloth, such as the legendary Mandylion of Edessa and the Christian scripture veil of Veronica. A third type of acheiropoietai are contemporary portraits of holy persons created during their lifetime by an artist who may also have been a holy person; for example, the icons of the Theotokos and the Child painted by Luke the Evangelist, and the sandalwood images of the Buddha said to have been carved in his actual presence.
A second category of sacred images worthy of worship and respect is the miraculous image, which regularly receives gifts and votive offerings from devotees. Miraculous images such as the Black Madonnas of Spain, Italy, France and Switzerland, or Ganeśa, the Hindu ‘Remover of Obstacles’, show their sanctity by performing miracles, particularly miraculous cures from otherwise inexplicable diseases, physical ailments and physical disabilities; the resolution of obstacles; and the conception and birth of healthy children for previously infertile women. To show reassurance or perhaps to foretell an impending catastrophe, some miraculous images produce a sign such as a glowing light, aromatic scents, streams of oil or blood, or tears such as those of the famous 12th-century icon of Vladimir’s Theotokos. Other miraculous images, such as the Theotokos Hodegetria icon of Constantinople, were known to respond to prayers for protection from invading armies or natural disasters, so the preservation of the city or the conditions for a good harvest testified to the image’s inherent sacredness.
Dedication rituals performed by sacred periods or ecclesiastical hierarchs affirmed the venerable through the ceremonial imbuing with diving energy so that the image is worthy of worship and respect. Dedication ceremonies range from the ancient Egyptian “opening of the mouth” ritual, to the Hindu “installation of the breath” rite, in which the image is brought to life through the initiation of the breath, to the Zen Buddhist rite, in which the eyes of the image are completed. Representative of this vivid dichotomy between the collective of believers and the religious hierarchy are images accepted as wondrous and venerable by the former prior to any formal ecclesiastical sanction or consecration ceremony, such as a manifestation of the Bodhisattva Avalokiteśvara or an icon of Theotokos Treheroussa.
Following the consecration ceremonies, specific forms of behavior and reception are associated with sacred images by believers. Often simply contemplating the sacred image is an effective ritual, as evidenced by the ceremonial acts of elaborate adornment and draping of sacred images in Hinduism and Roman Catholicism. The custom of offering tender foods, lighted lamps, aromatic incense, beeswax candles, fresh flowers, and objects precious to the believer to the holy image takes place either on significant feast days or after an intercession has been fulfilled. Sacred images are often anointed with sacred liquids ranging from precious oils to holy water to melted butter as a rite of purification and honor. The secularization of this ritual is practiced in the consecration of monarchs with precious oils and holy water. Devotees may follow prescribed posture patterns and gestures to embody their acts of worship, such as B. offering prayers from prostrate positions or kissing the sacred image with the intonation of prayers. Furthermore, the religious practice of the ritual processions simultaneously displaying and honoring the sacred image expands the ritualized boundaries of sacred energy and blessings through the processing realms.
Religious Categories for Art
Art has played a variety of roles in the settings, rituals, and teachings of world religions, from objects of worship to divinely inspired works to communicators of sacred knowledge. Through pedagogy, devotion, and contemplation, art has encouraged the development and establishment of a religious identity for both individual believers and the larger collective community. One of the normative and primary justifications for art related to religion is “to teach the faith” through symbolic and representative representations of the most important sacred narratives and teachings. This pedagogical or didactic aspect of art in religion is called “visual theology”. Representational art can provide visible models for appropriate behavior, dress, postures, gestures, and forms of liturgical action, and symbolic and representative liturgical objects with beautiful design and proportions can enrich religious ceremonies. This liturgical, sacramental or ritual dimension of art in religion is referred to as “visual liturgy”. Whether symbolic or representational, artworks that inspire prayer or evoke personal devotion are identified as “visual contemplation”. Art that offers spiritual guidance, as the symbols and imagery lead the devotee into an experience of transcendence or momentary encounter with the sacred, is categorized as “visual mysticism”. The symbolic vocabulary of motifs, images, or signs that conveys religious meaning and theological teachings in a manner accessible only to the initiated is the art of “visual codes”. Kunst, die durch Design und Gestaltung das religiöse Umfeld oder die Erfahrung spiritueller Begegnung für den Gläubigen bereichert, wird als „visuelle Dekoration“ bezeichnet. Die Kunst jeder Weltreligion kann auch eine Kombination aus einer oder allen dieser Kategorien sein, so dass ein Werk symbolisch und mystisch oder didaktisch und liturgisch sein kann. Dennoch gibt es immer wieder Kunstwerke, die schwer, wenn nicht sogar unmöglich zu kategorisieren sind, wie die Muqarnas oder Stalaktitenverzierungen der islamischen Architektur, die einige Gelehrte und Gläubige als schöne Form identifizieren und andere als die Vielfalt der Einheit Gottes interpretieren.
Kunst als religiöse Kommunikation
Als multivalenter Vermittler von Bedeutung und Wert kann Kunst aufgrund ihres Themas, Gegenstands oder ihrer Ikonographie als religiöse Kunst definiert werden, die von einer biblischen Erzählung über ein heiliges Porträt bis hin zu einem heiligen Bild reicht, das nach den Vorschriften eines bestimmten Glaubens geschaffen wurde. Religiöse Kunst umfasst Zeichen und Symbole, die Eingeweihten zugänglich sind, die gelernt haben, die Ikonographie zu lesen, während sie für Uneingeweihte als schöne Form erkennbar sind, wie die geschnitzten Reliefs, die die Innen- und Außenwände des Khandarīya Mahādeva-Tempels in Khajurano bedecken, oder mehrere Tafeln auf Mathias Grünewald Isenheimer Altar.
Kunst kann ihrer Funktion nach als religiöse Kunst charakterisiert werden. Die grundlegende Funktion der meisten religiösen Kunst ist es, als Religionspädagogik Körperhaltungen und Gesten oder eine Geschichte oder ein Dogma einer religiösen Tradition zu veranschaulichen, ebenso wie visuelle Symbole und darstellende Bilder. Schöne Zeremonialgegenstände, die von Priestern oder religiösen Amtsträgern sakramental oder im Rahmen einer religiösen Zeremonie verwendet werden, wie beispielsweise illustrierte heilige Bücher, Kandelaber oder Kelche, haben eine klar erkennbare religiöse Funktion. Bildende Kunst, zum Beispiel die Wandfresken mit Darstellungen von Yogahaltungen in Ajantā in Westindien oder die byzantinischen Mosaike mit Darstellungen des Taufsakraments an den Decken des orthodoxen Baptisteriums in Ravenna, haben gleichzeitig liturgische und pädagogische Funktionen. Andere Kunstwerke wie Yoruban-Masken und Navajo-Sandmalereien haben eine Funktion als Ritualkunst.
Die Positionierung oder der Standort eines Kunstwerks – auf einem Altar oder in einem Tempel – kennzeichnet es als religiöse Kunst. Religiöse Gebäude unterscheiden sich im Baustil und in der Funktion von Religion zu Religion und von Land zu Land; Zu den kirchlichen, klösterlichen, rituellen und heiligen Stätten gehören jedoch Tempel, Synagogen, Kathedralen, Klöster und Moscheen sowie Gräber und Schreine. Oft geben Gönner, ob Einzelpersonen, Könige, religiöse Hierarchen oder Klostergemeinschaften, Kunstwerke, einschließlich, aber nicht beschränkt auf Altarbilder oder Buntglasfenster, für einen bestimmten Ort in Auftrag. Das Verständnis des Künstlers für die Größe und den Standort des Kunstwerks aus der Zeit des Auftrags ermöglicht eine Gestaltung entsprechend der räumlichen Umgebung, wie beim Genter Altar von Hubert und Jan van Eyck (1432). Andere Kunstwerke, zum Beispiel die Skulptur der Athene im Parthenon oder der monumentale Buddha in Kamakura, werden als religiöse Kunst identifiziert, da ihre Funktion ihre Platzierung bestimmt.
Aufträge für Kunstwerke entweder zur Platzierung oder Verwendung in einem religiösen Umfeld – ob Tempel, Moschee, Kloster, Synagoge oder Kirche – oder für eine religiöse Aktivität – kirchlich, liturgisch, sakramental, andächtig, kontemplativ oder katechetisch – qualifizieren Kunst als religiös Kunst. Die Schirmherrschaft religiöser Kunst kann das Ergebnis einer besonderen Andacht, einer Heilung, einer Antwort auf eine Fürbitte oder zur Besänftigung göttlichen Zorns sein. Throughout the religions of the world, patrons of religious art have included laypeople as well as monastics and religious, the court and aristocracy as well as the lower classes.
The artist as the creator of art has a significant role to play in the characterizing of art as religious art. The definition of the artist and of the artist’s spirituality varies from religion to religion. The characteristics and categories by which the artist is defined include descriptions of the relationship between artist and art, between art and personal spirituality, and ultimately, between the aesthetic and spiritual experiences, and are delineated in distinctive fashions within each world religion and culture. For example, art discloses the character and thereby the spirituality of the artist, according to Daoist and Confucian aesthetics, while an intimacy between artist, art, and spirituality is presumed by Hindu aesthetics, as art is spiritual and the spiritual is expressed through the arts. However, the distinction between artist and art, whereby a nonbeliever could create works for a religious community or environment, is the modern Western position. Traditionally, even in the West, the normative pattern was that the artist was a believer and practicing member of a religious community for whom the creation of art was a spiritual path. The making of religious art was, then, a form of religious ritual that began with an act, or period, of spiritual cleansing, including intense prayer, abstinence from sexual relations, and fasting. Further a complex but carefully defined rubric of forms, symbols, colors, and motifs was followed; each religious image was a codebook and “earned” the appellation “religious art.” In the making of maṇḍalas the Buddhist monk followed such ritual procedures and codified rules as did the Eastern Orthodox Christian monk who “wrote” icons and the Navajo shaman who created the healing image through sand paintings.
Religious Responses to Art
The response to religious art is predicated upon individual faith, pronounced dogma, religious attitudes toward the image, and aesthetic quality projected by the work of art. The operative principle should be that as the embodiment of the sacred, a religious image provides for immediate and permanent access to the deity. Such a response, however, would require the believer’s receptivity to the power of images and the primacy of sacred nature. The practical reality is that even one work of religious art can garner a diversity of responses, each of which is dependent upon the believer’s preconceptions regarding religious encounter and the image. As an example of this multiplicity of response to one image, consider that of Śiva Nataraja, the divine dancer who creates and destroys the universe with each footstep. Śiva is invited to enter an image of himself at the beginning of ritual prayer or ceremonies; his presence may be perpetual or fleeting, although the physical image endures through the work of art. Throughout the ritual both Śiva and his sacred energy reside within the image but depart when the ritual comes to a close. The image remains as a visual aid for personal devotion and prayer and as a visual remembrance of the god’s activity so that Śiva’s sacred presence is known even in his absence. The artistic rendering of Śiva Nataraja functions as a visual reminder of the divinity’s existence rather than an embodiment or temporary receptacle of the sacred; it thereby becomes a centering point for meditation, prayer, ritual, or religious experience. For many devotees, such an image is simply the point of initiation toward their individual “goal” to transcend materiality and to ascend to a mystical state of imageless union with the divine. Other believers find such an image to be simply a pedagogical object but not relevant for personal prayer, devotions, or mystical experiences. For an iconoclast, such an image of Śiva Nataraja should be denied, if not destroyed, as much out of a fear of idolatry as a simple distrust of images.
What is most significant in the human response to religious art is that even a minimal response provides an entry into the experience of or participation in divine power and energy. Works of religious art, for believers, are not simply material objects but mediators of spiritual energies. Simultaneously as efficacious location and a distancing from devotees, sacred space is created by the presence of a religious image. Recognized as a religious image in many religions, the human body is identified as a reflection of the divine bodies of the gods and goddesses in Classical Greece and as an object of glorification in certain Hindu sects and African traditions. Thereby, the response of the human body to religious art provides an aesthetic channel for devotions, contemplation, prayer, and worship.
A Preliminary History of the Field
As a discrete field of study, art and religion has no singular historic event or scholar to recognize as its formal beginning or founder. From the beginnings of scholarly discourse, critical and academic discussions of art or religion impinged each upon the territory of the other, as reflected in the initial pages of this entry. As an identifiable formal topic, however, the study of art and religion was initiated with the virtual plethora of mid-nineteenth-century publications on Christian art that emerged from the pens of a diverse group of predominantly self-trained writers beginning with Alexis-François Rio (1797–1874), De la poésie Chrétienne (1837); Adolphe Napoléon Didron (1806–1867), Iconographie Chrétienne (1843); Lord Lindsay Alexander (1812–1880), Sketches of the History of Christian Art (1847); and Anna Brownell [Murphy] Jameson (1794–1860), Sacred and Legendary Art (1848). These publications, especially Jameson’s books and serialized texts, which built upon her renown as an author of museum guidebooks, inaugurated a genre dedicated to the appreciation of Christian art as an exemplar of moral values and good taste. Nonetheless, these texts situated the paintings and sculptures discussed within their historical contexts, carefully described any stylistic or technical innovations, and explained the “lost language” of Christian signs and symbols. Apparently, there was a charisma for Christian art at this time throughout Western Europe and America, as witnessed by the establishment of a variety of art movements—the Academy of St. Luke in Rome, the Pre-Raphaelite Brotherhood in London, and the Nazarenes in Vienna—dedicated to the reunification of art and religion as epitomized in the medieval synthesis.
Cultural and language shifts beginning with the Renaissance were formative on this nineteenth-century movement, as the concept of art was transformed from craft and that of the artist to individual creator. These terms were further clarified with the Enlightenment and the Romantic movement, as the Renaissance cult of the artist as an individual, and perhaps a genius, matured into common vocabulary. The German Romantic philosophers, including J.G. Fichte (1762-1814), Friedrich W.J. Schelling (1775-1854), and August Wilhelm Schlegel (1767-1845), built upon the foundations of subjectivity introduced by Immanuel Kant (1724–1804) and the spiritual in art of Johann Wolfgang von Goethe (1749-1832). Other philosophical and theological influences from Friedrich Schleiermacher (1768–1834) to Charles Baudelaire (1821–1867) to Ralph Waldo Emerson (1803–1882) to John Ruskin (1819–1900) corroborated this transformation toward a spiritualizing of art and toward the establishment of an academic discourse identifiable as art and religion. This genre of Christian art initiated by Rio, Lindsay, and Jameson was quickly expanded by a variety of ministers, artists, and educators predominantly from England, France, Germany, and then the United States. Their publications included travel diaries, behavior manuals, gift books and annuals, and treatises on the history and symbolism of Christian art; and this genre flourished into the early twentieth century, as witnessed by the popular books of Estelle Hurll, The Madonna in Art (1897) and Clara Erskine Clement Waters, Saints in Art (1899).
Concurrently, the academic study of religion, especially as the history of religions, began to surface in the German university system, while an assortment of cultural events, including the artistic modes of Orientalism and Japonisme in the nineteenth century and the fascination with le primtif in the early twentieth century, the Christian missions into China and Japan, the Chicago World’s Fair, the Parliament of World Religions, and the phenomenon of theosophy created a cultural climate of intellectual and popular interest in other religions, particularly Hinduism and Buddhism. Nonetheless, the lens was Western—so a Western perception of Hinduism or Buddhism as both a religion and a culture. Western scholars and commensurately Western scholarship has privileged this field of study. Students of religion and artists learned about the aesthetics and art of “the other.” As the academic study of art history was being organized in several European universities, the recognition of the need to learn about religion was mandatory for the research and discussion of Christian art, and later of the arts of India, China, and Japan. From its earliest moment, then, art and religion was a multicultural and multireligious form of discourse.
Further developments in the study of art and religion resulted from the breadth of vision among a select group of religion scholars: Rudolf Otto (1869–1937), Gerardus van der Leeuw (1890–1950), Mircea Eliade (1907–1986), and Suzuki Daisetz (1870–1966); art historian Ananda K. Coomaraswamy (1877–1947); and theologian Paul Tillich (1886–1965). Of this magisterial group, the phenomenologist of religion, Rudolph Otto, and the historian of religions, Mircea Eliade, contributed most significantly to the development of the discrete field of study known as art and religion. In his now classic The Idea of the Holy, Otto identified the connectives between art and religion. Beyond normative language and rational description, religious experience is initiated by the nonrational modes of communication and sensory perceptions provided by art. Despite his silence on any comparison between aesthetic and religious experience, or the commonalities between religion and artistic creativity, Otto points to the critical importance of the experience of art as a moment of the silence, awe, wonder, and fear encountered before the numinous.
Eliade describes the visualizing of the otherwise invisible sacred through art in a variety of forms and styles in Symbolism, the Sacred, and the Arts (1994 [1985]). Art is a conduit to the sacred and a human activity permitting the possibility for involvement with divinity/ies. Art is essential to the proper performance of religious ceremonies and rituals. Eliade interpreted art as embedded in the human universal consciousness and in all world cultures and emerging in the artistic visioning and reinterpretation of symbols and images even in the secular art of the twentieth century. Coomaraswamy sought for the commonalities between the spiritual art of East and West, but perhaps his most significant contributions came during his tenure as curator of Asian Art at the Museum of Fine Arts in Boston, where he introduced the concept of “spiritual art” into the vocabulary of curators, museum displays, and special exhibitions. He furthered the definition of spiritual art when he supervised the acceptance of several of Alfred Stieglitz’s (1864-1946) photographs as works of art—the first photographs ever to enter a museum or gallery collection under the rubric of art—into the museum’s collection. Van der Leeuw proposed a phenomenology of art and religion in his Sacred and Profane Beauty: The Holy in Art, in which he described how all the arts—dance, drama, poetry, painting and sculpture, architecture, and music—signaled and manifested the presence of the sacred. His is the only text to expand the discussion comparatively among the arts.
Tillich is to be credited with relating contemporary Christian theology with twentieth-century art. His efforts to see and to discuss the connectives between contemporary works of art with both religious and secular themes to the classic masterpieces of Christian art, and as venue for discussing theological issues, opened the door to the serious consideration of the spirituality of modern art. Suzuki’s significance to the study of art and religion was his masterful text Zen and Japanese Culture (1970 [1938]), in which he introduced his interpretation of the Zen aesthetic to the West. However, his famed lectures on Zen and Zen aesthetics at Columbia University in the 1950s opened the eyes and the minds of many of New York’s most promising and creative artists, including musician John Cage (1912–1992), choreographers Martha Graham (1914-1999) and Merce Cunningham (b. 1919), and the painters and sculptors who became known as the Abstract Expressionists, including Jackson Pollock (1912-1956) and Mark Rothko (1903-1970), to an alternate way of envisioning and experiencing the sacred, and to the spirituality of art.
Similarly, a quick survey of the academic field of art history and of the influence of several prominent art historians such as Charles Rufus Morey, Émile Mâle, Erwin Panofsky, and Meyer Schapiro would provide critical moments in the evolution of the field of art and religion. Panofsky’s work in deciphering iconography from iconology may be one of the most crucial art historical contributions to the study of art and religion prior to Freedberg’s “response theory.” Iconography was a carefully detailed method of analysis of the symbolic vocabulary delineated within an image, while iconology was an explanation of an image or art form within the context of the culture—social, political, religious, and engendered—that produced it.
Methods and Methodologies
The amorphous nature of the relationship between art and religion as both a topic of investigation and a field of study is paralleled by the oftentimes perceived “flexible” methodologies employed by specialists. The breadth of methodological approaches, technical languages, and questions investigated continue to expand in tandem with the study of religion. The lacuna of a single or even commonly accepted “core” methodology is irksome at best. The diverse technical vocabularies and methodologies include but are not limited to art history, iconography and iconology, cultural history, church history, ethics, history of religion, ritual studies, comparative religions, and theology. The primary characteristic of art and religion that defies its definition as a normative field of study is that it is fundamentally a multidisciplinary field that is broad in its subject matter, geographic sweep, world religions foci, and technical language.
From its possible “official” beginnings in the mid-nineteenth century into the twenty-first century, art and religion has traversed a variety of methodological formulae and vocabularies, beginning with art history, iconography and symbolism, history of religion, cultural history, theology, philosophy, phenomenology, and iconology, while the foci of a new generation of scholars in the 1970s incorporated the principles and lenses to expand the borders of art and religion into the questions raised by the emerging categories of “the marginalized” and feminism into the 1980s issues of the body and class. The reception of art historian David Freedberg’s groundbreaking study, The Power of Images (1989), defined and traced the history of “response theory,” which provided art and religion with an affirmation of its interest in the human, or worshiper’s, experience of art. Beginning with the late 1980s, specialized studies with methodologies and languages for material culture, popular culture, performance and display, visual culture, and museum studies were incorporated, sometimes tangentially, into art and religion.
These additional disciplinary approaches and topical interests may be interpreted as diffusing the field of art and religion that much more broadly. However, the reality is twofold: oftentimes these new approaches or fields give a “name” such as Freedberg’s “response theory” to an attitude, theme, or subject of art and religion research and investigation; and secondly, the fundamental nature of art and religion is to be inclusive, and to that end, it is a metaphor for religious studies. Nonetheless, it is reasonable to consider whether art and religion as a field without a methodology is an academic nomad or a valid but discrete field of study.
The methodological lacuna for art and religion may be problematic, especially in any attempt to defend its existence as a field of study. However, the range of disciplinary methods and topics ranging from art history to cultural studies to theology to gender studies and beyond has created a multilayered syntax for the research, writing, and discussions of art and religion. Among the fundamental topics for investigation have been the historical relationships between art and religion(s); religious attitudes toward image (or icon or idol); religious attitudes toward the veneration of images; the symbolism of gender in religious art; changing cultural attitudes toward religion and the effect(s) upon art; changing cultural values toward art and the implications for religion; and the visual evidence for cultural shifts in understanding of gender and the body. Further, the normative pattern has been that specialists in art and religion operate with the methodological formulae and vocabulary in which they were first trained, and expand, transform, and re-form these in the process of research and writing about art and religion.
From the nineteenth-century “establishment” of art and religion as a focus of study, there are three identifiable investigative categories related directly to the initial or primary lens in which a scholar of art and religion is initially trained: art history, theology, and history of religion. Further, these categorizations to the point of origin within the research—that is, the category of “art-centered investigations”—proceed from art as a primary document; “religion-centered investigations” advance from the religious impulse; and the “art-and-religions-centered investigations” emerge from the comparative study of traditions.
Art-centered investigations begin with a fascination with or spotlight on art, particularly a specific work of art. Critical in this mode of analysis are the topics of the origin of the work of art, the “reading” of the signs and symbols, and recognition of the cultural and historic context as formative in the shaping of the artist and the artistic vision. Scholars who operate from this category of “art-centered investi-gations” are predominantly art historians, art critics, and aestheticians who typically analyze the art and religion of one faith tradition, as evidenced by Hisamatsu Shin’ichi’s (1889–1980) study of Zen Buddhist art (1982), André Grabar’s (1896–1990) texts on Christian art and iconography (1968), and Stella Kramrisch’s (1898–1993) work on Hindu art and architecture (1946 and 1965). Students involved in research on Byzantine, medieval, and Renaissance art will quickly learn that the art of those historical epochs is undisputedly difficult to decipher without some study of the history and theology. The texts on Christian art by Émile Mâle (1984), Erwin Panofsky (1953 and 1972), and Otto von Simson (1956) evidenced a careful interweaving of theology, scripture, and church history as connectors in the visual codes in the individual artworks analyzed. During the late 1960s the formal academic concern for the creative process corresponded with more than a comparative analysis of the aesthetic and the spiritual experience. Rather, fascination grew with the code of visual vocabulary and the mode by which images communicate ideas, as seen in the 1969 and 1974 texts of Rudolf Arnheim (b. 1904) and the 1971 text by Martin Heidegger (1889–1976).
Religion-centered investigations emerge from a fascination with or a devotion to the theological impulse or religious character of art. Central to this mode of examination are the topics of the affect of theology or religion on the making and symbolic content of a work of art, and of the cultural interplay between artists and the theological postures of prevalent themes. Scholars who participate within the frame of “religion-centered investigations” include art historians, church historians, and theologians who typically engage in the study of art and religion from the perspective of one faith tradition, as witnessed by Jane Daggett Dillenberger’s books on the style and content of Christian art (1965), John Dillenberger’s texts on Christian art in the context of church history and theology (1988 and 1999), and John W. Dixon’s studies of the theological impulse in Christian art (1978 and 1996). The creative process for the artist as an act of religious communication of ideas is evidenced in the “religion-centered investigations” of Jacques Maritain’s (1882–1973) 1978 work and Nicholas Wolterstorff’s 1980 study.
Religions-and-art-centered investigations proceed with comparative analyses of at least two religious traditions, with art as the focal point. The process of comparative readings of the same work of art determines the universality of art and of the religious impulse. Comparative studies of symbols and images extend beyond syntax and vocabulary to witness the creative impulse of imagination as it shapes new worlds and formulates new understandings of the human and of the world, which cannot be achieved through language or reason. Scholars operating within the “religions-and-art-centered” investigations include art historians, historians of religion, and aestheticians who share a passion for comparative study and the desire to learn the vocabulary of signs and symbols, such as Titus Burckhardt’s (1908–1984) comparative analyses of Hindu, Christian, and Islamic art (1967 and 1987), Coomaraswamy’s studies of Christian and Hindu art and religion (1943), and S. G. F. Brandon’s (1907–1971) books on comparative rituals and iconography (1975). Also within this category is a place for the art of world religions to be evaluated with reference to the energy and power of art to fascinate and communicate through emotive codes and images, as discussed by André Malraux (1953 and 1960) and F. S. C. Northrop (1946).
The interpretative critiques raised by those scholars representing “the marginalized” transferred attention from the traditional art being studied to the nature and intent of the questions being asked. Initially, feminism wielded vast influence in transforming scholarly foci and the methodological formulae. The incorporation of feminist concerns, motifs, methods, and vocabulary in art and religion is evidenced by the work of Margaret R. Miles (1985) and Celia Rabinovitch (2002). Scholarly interest in the process of seeing, the relationship between art and religious vision on all levels of society, and the role of seeing in the process of making art is emphasized in the new disciplinary visual culture studies by Colleen McDannell (1995) and David Morgan (1998 and 2005). An important reference is the special exhibitions and their catalogues and books, which have begun to focus on issues related to the art and religion of the so-called Third World in the work of Rosemary Crumlin (1988 and 1991), Thomas B. F. Cummings, and Kenneth Mills (1997). The writing and discussions of two art historians—David Freedberg (1989) on response theory and James Elkins (2001) on the interconnections of optics/vision, human emotions, and religious meaning in art—have greatly advanced the studies of art and religion.
New Considerations
As scholars engaged in the study of art and religion continue their perennial quest to answer the critical questions “what makes art religious?” and “how is religious artistic?”, the analytic methods, subjects, and vocabulary have responded by crossing over into the borders of new disciplines, such as visual culture, and the new critical gauntlets of technology, globalization, and secularization. Technology transformed the definition, experience, and study of art with the nineteenth-century invention of the camera, as photography challenged painting into new directions. The contemporary challenges of technology include the advent of computer art, virtual reality, and an environment in which one merely needs to press the right button to encounter masterpieces of art on the websites of major museums. The computer becomes then a mediator between art and the viewer, between art and artist, and between human consciousness and the projection of reality.
The challenge of globalization coincides with religious pluralism as the dominance of Western cultural and religious values appears to be ending as the symbolism and visual codes of Western art are being synthesized with those from other cultural and religious heritages. A new visual vocabulary is emerging from the confluence of religious traditions. Interwoven into this new fabric of the global and pluralistic world are the questions raised about the moral and ethical policies of collecting and exhibiting the sacred art of other cultures, and the issue of repatriation. Multiple considerations related to the presentation and display of sacred art in a secular or institutionalized setting are significant topics for the study of art and religion, including the issues of function, consecration, and response. Furthermore, and perhaps more significant, globalism and pluralism should assist in erasing the privileged status of Western scholars and Western art within the boundaries of art and religion. Comparative studies of specific artistic images or motifs might prove to be a positive venue to examine the commonalities and the differences and even the possibility of reformulating the basic vocabulary and issues of this discrete field of study.
Another way to consider this serious concern of the presentation of sacred art is the growing awareness that the “objects” being studied are being analyzed, researched, and encountered outside of their original placement and purpose. Thus, to be inclusive, our analysis must extend to the consideration, if not reconstruction, of the physical space in which the work was originally sited, its function (devotional, liturgical, ceremonial, ritual), and the experience of encountering the work for the first time in its “home” place.
Art is an imaged reflection, prophecy, and witness to human experience and religious values as well as an expression of culture. The topic of art and religion continues to entice consideration and to adapt itself to the transformations and permutations of scholarly concerns. The call continues among a new generation of young scholars to define the field and to adopt a methodology. The field of study identified as art and religion continues to survive despite its lack of a recognized methodology or academic vocabulary. Art, like religion, defies categorization and universal definition. Art and religion are inexorably interconnected throughout human history and human creativity.
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Mann, Vivian. Jewish Texts on the Visual Arts. Cambridge, U.K., 2000.
Mayer, Leo A. Bibliography of Jewish Art. New York, 1967.
Narkiss, Bezalel, ed. Journal of Jewish Art (volumes 1–5, Spertus College; volumes 6 ff., Center for Jewish Art, Hebrew University, Jerusalem).
Christian Art and Religion
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Apostolos-Cappadona, Diane. “Painting,” “Sculpture,” and “Symbol.” In Christianity: A Complete Guide, edited by John Bowden. London, 2005.
Bailey, Gauvin A. Art on the Jesuit Missions in Asia and Latin America, 1542–1773. Toronto, 1999.
Brown, Frank Burch. Religious Aesthetics: A Theological Study of Meaning and Making. Princeton, N.J., 1989.
Brown, Frank Burch. Good Taste, Bad Taste, and Christian Taste: Aesthetics in Religious Life. New York, 2000.
Coulton, G. G. Art and the Reformation. New York, 1958.
Damian, Carol. The Virgin of the Andes: Art and Ritual in Colonial Cuzco. Miami Beach, Fla., 1995.
Dewhurst, C. Kurt, Betty MacDowell, and Marsha MacDowell. Religious Folk Art in America: Reflections of Faith. New York, 1983. Exhibition catalogue.
Dillenberger, Jane. Secular Art with Sacred Themes. Nashville, Tenn., 1969.
Dillenberger, Jane. Style and Content in Christian Art. New York, 1986 (1965).
Dillenberger, Jane. Image and Spirit in Sacred and Secular Art. Edited by Diane Apostolos-Cappadona. New York, 1990.
Dillenberger, Jane. The Religious Art of Andy Warhol. New York, 1998.
Dillenberger, Jane, and John Dillenberger. Perceptions of the Spirit in Twentieth-Century American Art. Indianapolis, Ind., 1977. Exhibition catalogue.
Dillenberger, Jane, and Joshua C. Taylor. The Hand and the Spirit: Religious Art in America, 1700–1900. Berkeley, Calif., 1972. Exhibition catalogue.
Dillenberger, John. A Theology of Artistic Sensibilities: The Visual Arts and the Church. New York, 1986.
Dillenberger, John. The Visual Arts and Christianity in America: From the Colonial Period to the Present. New York, 1989 (1988).
Dillenberger, John. Images and Relics: Theological Perceptions and Visual Images in Sixteenth-Century Europe. New York, 1999.
Dixon, John W. Nature and Grace in Art. Chapel Hill, N.C., 1964.
Dixon, John W. Art and the Theological Imagination. New York, 1978.
Dixon, John W. The Physiology of Faith: A Theory of Theological Relativity. San Francisco, 1979.
Dixon, John W. The Christ of Michelangelo: An Essay on Carnal Spirituality. Atlanta, 1994.
Dixon, John W. Images of Truth: Religion and the Art of Seeing. Atlanta, 1996.
Finney, Paul Corby. The Invisible God: The Earliest Christians on Art. New York, 1994.
Freedberg, David. Iconoclasm and Painting in the Revolt of the Netherlands, 1566–1609. New York, 1988.
Gambone, Robert L. Art and Popular Religion in Evangelical America, 1915–1940. Knoxville, Tenn., 1989.
Grabar, André. Christian Iconography: A Study of Its Origins. Princeton, N.J., 1968.
Hazelton, Roger. A Theological Approach to Art. Nashville, Tenn., 1967.
Hirn, Yrjö. The Sacred Shrine: A Study of the Poetry and Art of the Catholic Church. Boston, 1957.
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Mathews, Thomas F. The Clash of Gods: A Reinterpretation of Early Christian Art. Princeton, N.J., 1993.
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Mills, Kenneth. Idolatry and Its Enemies: Colonial Andes Religion and Extirpation, 1640-1730. Princeton, N.J., 1997.
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Morgan, David. Protestants and Pictures: Religion, Visual Culture, and the Age of American Mass Production. New York, 1999.
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Rombold, Günter, and Horst Schwebel. Christus in der Kunst des 20, Jahrhunderts. Basel, Switzerland, 1983. Exhibition catalogue.
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Diane Apostolos-Cappadona (2005)
What does it mean to dream of drawing?
Having a dream about drawing means that you should expect some changes in your life. Also, you may need to change some areas of your life. Well, in the dream, you’ll see that you are drawing something, then all of a sudden, you stop drawing. Also, you may dream4 that you are learning how to draw.
Dream Moods Dream Themes: House
Well, you’ll know in a moment. Here we talk about common meanings if you dream about drawing.
These meanings depend on what you are drawing, the type of artwork, where you are drawing from, and many other scenarios. But all reflect the things that happen in your life.
Most often, drawing in your dream represents your feelings in real life. Keep reading to know the deeper meaning of this dream.
dream of drawing
1. You are hopeful
This dream is showing you that you have high hopes in many areas of your life. In your dream you will see yourself drawing everything.
Sometimes you may have that hope but you are not aware of it. So maybe you are planning something great. But you can see that you have little chance of success with this project.
The dream is a reminder that although you will go through some struggles, your efforts will bear fruit. You have the qualities that will help you excel at whatever you are about to do. So don’t lose the little hope you have.
A good example is when you are thinking about quitting your job because it has become challenging for you. The spirits will tell you not to give up because there is hope for you to do better in what you do.
2. You are concerned
If you dream about drawing, it can mean that you are worried in real life. Well, with this meaning, you will dream of someone else drawing.
It shows that you are constantly worried that things will not favor you in your real life. So you think that everything you plan to do in life doesn’t turn out the way you expect.
Sometimes you may worry about simple things that should bring you more joy. You can opt for a vacation to refresh yourself. Still, you worry that if you are not there, your business will fail.
So it makes you doubt every step you take in your real life. This is because you are afraid of what people will say about you.
You can also dream that a stranger is drawing your portrait. It shows that you care a lot about how people see you in society.
Remember that you may not know the burden you are putting on yourself. If you doubt and worry about your appearance in society, you can lose your identity.
Relax! Know that you cannot get everyone to like you. Live your life the way you think is best for you.
This dream is to remind you that worrying will never help. Instead, it will deny you your peace and happiness. Make sure you have a positive attitude in everything you do in real life
3. You need some life changes
If you dream about drawing, then you should expect some changes in your life. Also, you may need to change some areas of your life.
Well, in the dream you see that you are drawing something, then suddenly you stop drawing. You may also dream4 that you are just learning to draw.
The dream is telling you that you need to change the way you look at different aspects of your life. There is nothing you do that brings you joy. This attitude doesn’t give you a chance to grow in life.
It will help if you start doing things that interest you more. From this point on, you will fight against this wrong attitude.
You can also take a break from your busy schedule at work. You can go swimming or travel to relax.
Make more time for your hobbies and perfect your diverse skills. This step will help you change for the better.
4. Shows the need for a child
A dream about drawing can mean that it is time for you to have a child. In this picture you will dream that children draw everything.
Most of the time you will get the dream when it is ripe for you to have a child. So the spirits bring you this message so that you can prepare well. Remember that the dream can come to both a man and a woman.
Make sure you prepare well so you won’t be surprised when you have the baby. It will be a new responsibility that you will be given in your life. But know that you have everything you need to take care of the child.
5. You have positive energy
Also, this dream about drawing means that you have positive energy inside you. It is something that attracts or brings good things into your life.
The image that you will see in this dream is that you are drawing any portrait. Well, this portrait shows that you love yourself and all that is inside you. So it doesn’t matter how you look, how you feel, or what job you do.
Remember how loving yourself brings positive energy into your life. It’s something that not everyone has in their life.
This aspect allows you to always be with people whose lifestyle interests your heart. Also, you will always be around people with a positive attitude.
These people will even help you eliminate the negative thoughts from your life. The dream is telling you that you will change your perspective on some things to make your life better.
6. You want to share your feelings
Sometimes this dream represents that you have an urge to show your true feelings to someone else. But now what’s holding you back is the fear inside you.
In such a dream, you will see yourself drawing a portrait of someone you know. Most of the time it will be from someone you know. So the portrait means that you have an affection for that person.
Your mind is now warning you that it is time for you to tell this person how you honestly feel. It will help you be free. Besides, you never know. That person might feel the exact way towards you to spark true love.
The dream means that you have a crush on someone you have known for a long time or your co-worker. Take up the courage to share your feelings.
Nevertheless, the dream that you are drawing the portrait of a person you know indicates in your emotions and feelings that you do not like their company. It’s time for you to tell the person that you don’t feel comfortable being with them. you will have peace
7. Shows lack of experience
Also, a dream about drawing means that you lack experience in things that you are trying to do in life. As for this meaning, dream about drawing something with chalk.
It shows that you want to do something out of the ordinary, maybe at your workplace or at school. But the problem is that you don’t have what it takes.
Your spirit is telling you not to be afraid to seek advice. So from that point on, you will gain better skills in this area and become a pro.
Learn to sit with people who help you get better. Avoid the ones that will discourage you.
Remember there is nothing wrong with learning on your own. But you need someone close to you to help you fix the mistakes you make as you grow your skills.
8. They have childish behavior
This dream can also remind you that it is time for you to leave behind your childlike behavior as an adult. Here you dream of drawing with colored pencils.
Well, crayons are mainly designed for kids to help them improve their artistic skills. So the picture on which you draw with colored pencils shows your childish deeds.
It’s a behavior you need to change because it affects you in your workplace. Yes, you have some excellent skills that will help you keep your job. But you always use your childishness to entertain people at work.
Your bosses are not happy with you. It’s time for you to change.
Remember that being childish is not a bad trait. But know when to show that act because it can cost you a lot of things.
9. There is something or someone you miss
The dream also indicates that there is something or a person that you miss. Well, as for that meaning, the detail you will remember is that you drew something.
So, that person or thing that you drew in your dream is what your mind is missing. It means that you should make an effort to get to that person.
But don’t pressure yourself when you see this dream for the first time. Well, it could be that the person you miss is far away. Also, it might be expensive for you to get the thing you drew.
Remember that the dream can repeat itself over and over again. It means you should see the person or receive the item soon.
Conclusion
The meaning of dreams about drawings is always simple. Each meaning shows a picture of what is happening or is about to happen in real life.
If you are the artist in the dream, it mostly means that something positive is coming your way. But even if the dream brings a negative message, there is always a solution waiting for you. Sometimes you will face the consequences if you don’t do what the dream tells you to do.
Do you have other meanings related to dreams about drawing? Did these meanings give meaning to your dreams? Please you can share with us.
When You Dream About Painting , What Are You Really Dreaming About?
See some more details on the topic dream of someone painting a house here:
Dream Interpretation Of Painting House | DreamChrist
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Dream Interpretation Of Painting House
Are you looking for the Malhaus dream interpretation? Don’t worry, DreamChrist will tell you about symbols while you sleep. Carefully read the Dream Interpretation of Painting House.
Since ancient times, mankind has known dreams with different images present in their sleep. Painting House Dream Interpretation may have a good sign, but some may make the dreamer’s life bad. However, this all depends on each person’s perspective.
Some time ago, even in prehistoric civilizations, the Malhaus dream interpretation can also be associated with personality. It is a sign that the dreamer needs to fix something.
When this dream appears normal, it symbolizes that the dreamer has a strong personality. On the other hand, it also develops into nightmares, and this is a sign of a bad omen in the future, this is also the temptation of bad energy around the dreamer.
Since ancient times, mankind has known dreams with different images present in their sleep. Painting House Dream Interpretation may have a good sign, but some may make the dreamer’s life bad. Still, this all depends on each person’s perspective. Some time ago, even in prehistoric civilizations, the dream interpretation of the painting house can also be associated with personality. It is a sign that the dreamer needs to fix something. When this dream appears normal, it symbolizes that the dreamer has a strong personality. On the other hand, it also develops into nightmares, and this is a sign of a bad omen in the future, this is also the temptation of bad energy around the dreamer.
The dream of painting reflects the creativity you have. This dream depicts success at work and very high economic level due to hard work. However, you have to be very careful with such dreams, because the truth can also hide.
The subconscious tries to express the experiences of the day. In this case, if you dream about painting, then you feel the need to create something beautiful. If you want to renovate a house, you can also dream about drawing a house.
For these dreamers, dreams with paintings reflect an escape from reality or something you don’t want others to find out. On the other hand, there is also the desire to make things look better than they are. And that is why the subconscious presents this dream.
What does it mean to dream about painting? Painting in a dream also means that you will be involved in new projects.… Read the rest
Painting as a Spiritual Expression
Is a painting nothing more than a piece of paper with lines and color or more? In the hands of the master painter who paints in the spirit; The lifeless piece of paper with its lines and colors is transformed into a creation that has life, just as the master creator breathed life into his creation. The painter transfers the essence of his mind to his creation, the “painting”.
A painting is the expression of the heart and soul; it conveys cultural messages and the mysteries of the universe. It arises from the artist’s desire to depict the forms of nature and man through the artist’s mind as he perceives his world.
Not only does an artist capture the forms of nature, the artist’s mind interacts with the mind of the animals or people he paints.
His painting captures both the spirit and the message of his subject. You can see it in the expression, the eyes and the shape of the painting. All good paintings convey an emotion or message to the viewer. It can be a message of love, harmony or calm; or it could be a message of danger, anger, or sadness. It could be a lesson or something we can all relate to as human beings, like wanting to be loved.
Painting as an art served ancient peoples as a means of purifying and ennobling the human spirit. The well-studied and observant artist brings to life, through his own meditation, the animated states, feelings and spiritual essence of the animals and people he paints. The purification or refinement of the viewer’s mind occurs through the inspired artist’s ability to communicate with the subject (human or animal): mind, animation, feelings, thoughts, and the subject’s scene or stage with all its colors and forms.
Copyright: © 2004 by Ernesto Apomayta
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Dream Moods Dream Themes: House
Your dream home is a symbol of self, while the rooms inside the home relate to different aspects of yourself and the many facets of your personality. The attic relates to the mind while the basement represents the subconscious. Attic To see an attic in your dream represents hidden memories or repressed thoughts being revealed. It also symbolizes your spirit, your spirituality and your connection to the higher self. Alternatively, it means difficulties in your life that can prevent you from achieving your goals and aspirations. However, after a long period of struggle, you will overcome these difficulties. Seeing a cluttered attic in your dream is a sign of organizing your mind and thoughts. Perhaps you need to break free from the past and let go of the past emotions that are holding you back. TOP Balcony Seeing or dreaming of being on a balcony refers to your desire to be seen and noticed. They are looking for prestige and higher status. It can also mean that you are on your way up the social ladder. If the balcony is clean, it shows that you are admired by others. If the balcony is old, it indicates that your exterior appearance is in need of repair. Alternatively, the balcony could indicate your ambivalence about a situation. You feel torn or indecisive. TOP Basement To dream of being in a basement symbolizes your subconscious and intuition. The appearance of the basement is an indication of your unconscious state of mind and happiness. It represents primal urges, animal desires and basic needs. The dream can also be a metaphor for “humiliation” or “humiliation.” Do you feel humiliated or unworthy? To dream that the basement is in disarray and disorder means some confusion in which you need to put order. These are things that you have “saved” or put aside in your head because you don’t know what to do with them or because you don’t have the time to deal with them. It can also represent your perceived flaws and shortcomings. TOP Bathroom To dream of being in the bathroom relates to your instinctive drives. You may be experiencing some stress/emotions and need to “relieve”. Alternatively, a bathroom symbolizes purification and self-renewal. You need to cleanse yourself both emotionally and psychologically. To dream that you are in a public restroom with no stalls or that there are many people around while you are trying to go about your business shows your frustration at getting enough privacy. You always put others above your own needs. As a result, you lack a sense of personal space. Alternatively, the dream indicates that you are having trouble letting go of old emotions. You are afraid that if you reveal these feelings, others around you will judge and criticize you. To dream that you are in a bathroom intended for the opposite sex suggests that you are pushing your limits. You have crossed the line in some situations. To dream that you cannot find the bathroom means you are having difficulty letting go and expressing your emotions. *See also urination. See the meaning in action: ‘toilet maze’, ‘sitting on the toilet’, ‘dirty stables’ and ‘dogs in the bathroom’ Bedroom To dream of being in the bedroom represents aspects of yourself that you keep private and hidden . It is also an indication of your sexual nature and intimate relationships. TOP Blanket To see a blanket in your dream represents a mental or spiritual perspective. It can also symbolize the limit you have set for yourself. If you see a vaulted ceiling in your dream, it means your crooked perspective or view. TOP Basement To dream of being in a basement represents a part of your subconscious where you have been hiding your fears and problems. To dream that you are going to the basement means that you are digging deep into your own past and confronting your fears. TOP Chimney To see a chimney in your dream represents warmth, tradition and family values. Alternatively, a chimney symbolizes the phallus. So when the chimney smokes, that represents sexual redemption. If it’s not smoking, then it means sexual tension or your need for sexual relaxation. If the chimney collapses, it means impotence. To dream that you are sweeping the chimney indicates that you need to vent your frustration and get things out in the open. You need to let go of all that negativity and/or guilt that’s holding you. TOP Closet Seeing a closet in your dream symbolizes something in your life that you have been keeping hidden. It can also mean that you reveal previously hidden aspects of yourself, as in “coming out of the closet”. TOP Cave To dream that you are in the cave means work, diligence and efficiency. TOP Door To dream of entering through a door means new opportunities are opening up to you. You are entering a new phase of your life, moving from one level of consciousness to another. Specifically, a door that opens outward signifies your need to be more accessible to others, while a door that opens inward signifies your desire for inner exploration and self-discovery. Seeing an open door in your dream symbolizes your receptivity and willingness to accept new ideas/concepts. In particular, seeing a light behind the door indicates that you are moving toward greater enlightenment/spirituality. To dream of the door being closed or locked means opportunities that are denied and unavailable to you or that you have missed. Something or someone is blocking your progress. It also symbolizes the end of a phase or project. Especially if you find yourself outside the locked door, this indicates that you have antisocial tendencies. Being inside the locked door represents harsh lessons to be learned. To dream of locking the door indicates that you are closing yourself off from others. You are reluctant to let others in and reveal your feelings. It indicates some anxiety and low self-esteem. When someone slams the door in your face, it’s a sign that you’re feeling left out, active, or being ignored. Seeing revolving doors in your dream suggests that you are literally going in circles and going nowhere. You may feel that your options and choices are leading you to a dead end. TOP Doorbell To dream that you hear or ring a doorbell predicts unexpected news, which will most likely be negative. TOP Driveway Seeing or driving to a driveway in your dreams symbolizes the end of your journey. It also represents safety and tranquility. Alternatively, it denotes your path to attaining inner peace and finding your spirituality. Seeing rocks on the driveway indicates a rocky end to a journey. TOP Fence If you see a fence in your dream, it means some obstacle or barrier that may be on your way. You may feel constrained and restricted in expressing yourself. Do you feel fenced off in a situation or restricted in a relationship? Alternatively, it can symbolize a need for privacy. Maybe you want to switch off the rest of the world. To dream that you are climbing to the top of a fence means success. Climbing over the fence indicates that you will fulfill your desires through not-so-legitimate means. If you dream that you are standing on the fence, then the dream can be a metaphor indicating that you have not made up your mind about something. To dream that you are building a fence indicates that you are laying a solid foundation for success. Alternatively, it indicates that you are blocking something or excluding yourself. To dream of falling off a fence means that you are stuck over your head regarding a project that you cannot handle. Seeing animals jump over a fence into an enclosure foretells that you’re about to get help from an unexpected source. Seeing them jump out means loss. TOP Floor To see the floor in your dream represents your support system and sense of security. You have a solid base you can rely on. The floor in your dream can also symbolize the separation between the subconscious and the conscious mind. Alternatively, the dream may be a pun about being “down” or being completely surprised. Maybe you were surprised by something. Kissing the ground in your dream means that you are grateful for the life you have. If you see a polished wooden floor in your dream, it means that you are fully aware of your subconscious and you keep it suppressed. Seeing a sloping floor in your dream predicts that you are going too far from your original plans and goals. To dream of the floors of a building represents your level of understanding, awareness, or achievement. The higher floors mean higher achievements and achievements. If you are on the lower floors, it relates to more primal attitudes, the unconscious and/or sexuality. It also indicates errors. Consider the meaning of the floor number and the type of building in which the floors are located. To dream of the floor being rubber suggests you are testing your limits. You are given certain freedoms to explore who you are. Alternatively, dreaming of a rubber floor signifies your forgiving or forgiving support system. You are surrounded by people who accept you for your flaws and weaknesses. TOP Garage To dream of being in a garage represents a period of inactivity and idleness in your life. You feel like you lack direction or guidance to achieve your goals. To dream that you are pulling your car into the garage represents security and stability brought about by your accomplishments and efforts. To dream that you are opening the garage door indicates that you have made a decision about an issue. You have decided on the path you want to take in order to achieve your opportunities and goals. On the other hand, closing the garage door suggests that you are postponing your goals for the benefit of others around you. TOP Garden If you see a vegetable or fruit garden in your dream, it means that your hard work and diligence will pay off in the end. It is also a symbol of stability, potential and inner growth. You need to cultivate a new skill or nurture your spiritual and personal growth. To see a flower garden in your dream represents calm, comfort, love and domestic bliss. You have to be more caring. Seeing a sparse, weed-infested garden indicates that you have neglected your spiritual needs. You are out of date. TOP Glass House If you see a glass house in your dream, it means that flattery is likely to hurt you. To dream that you live in a glass house means impending loss of your reputation. TOP Corridors Seeing a corridor in your dream symbolizes self-exploration. It is the beginning of the path you walk in life. You are in a transition phase and traveling into the unknown. It also signals spiritual enlightenment, emotional growth, physical prowess, new opportunities, and mental passages in your life. TOP Living Living in a dream means security, basic needs and values. You may feel at home or settled in your new job or environment. Alternatively, the dream represents your basic needs and priorities. In particular, your childhood house, your hometown, or a house you lived in before shows your own desire to start a family or your beliefs about home. It also reflects aspects of you that stood out or developed during the time you lived in that house. You may be experiencing some unfinished feelings that have now been triggered by a waking situation. Alternatively, the dream can symbolize your outdated thinking. To dream that you cannot find your way home indicates that you have lost faith in yourself. It can also mean a major transition in your life. TOP house To see a house in your dream represents your own soul and self. Certain rooms in the house point to a certain aspect of your psyche. In general, the attic represents your intellect, the basement the unconscious, etc. When the house is empty, it indicates feelings of insecurity. When the house shifts, it indicates that you are going through some personal changes and changing your belief system. To dream of a house having no walls represents a lack of privacy. You feel like everyone in your organization is looking over your shoulder or up. Seeing an abandoned house in your dream means that you have left your past behind. You are ready for the future. To dream that you are cleaning your house means that you need to clear your mind and get rid of old habits. You strive for self-improvement. If in your waking life you live with others but dream that you live alone, it indicates that you need to take new steps towards independence. You have to take responsibility and become more independent. Seeing an old run down house in your dream represents your old beliefs, attitudes and how you used to think or feel. A situation in your current life can bring up the same old attitudes and feelings. Alternatively, the old house can symbolize your need to update your mindset. If you see messy and/or rundown houses in your dream, it means that some aspect of your own life is in chaos. You may be suffering from emotional or psychological turmoil. You have to let go of those feelings to regain control. To dream of your home being damaged indicates your waking concerns about the condition of your home. Seeing a new house in your dream indicates that you are entering a new phase or area in your life. You become more emotionally mature. Locking yourself out of the house represents rejection and insecurity. you feel left behind To dream of your house being broken into indicates that you are feeling hurt. It can refer to a specific relationship or current situation in your life. Alternatively, it indicates that unconscious material is attempting to make itself known. There are some aspects of yourself that you have denied. To dream of a haunted house represents unfinished emotional affairs related to your childhood family, dead relatives, or repressed memories and feelings. To dream of a house gone indicates that you are not feeling grounded. You feel uprooted by a particular circumstance or relationship in your life. To dream of water rising in your house indicates that you are being overcome by your emotions. **See Meaning in Action: “Haunted House”. See also room. TOP Kitchen Seeing a kitchen in your dream represents your need for warmth, spiritual sustenance and healing. It can also be symbolic of the caring mother or the way you are towards your loved ones. Alternatively, the kitchen represents a transformation. Something new or life-changing is about to happen. Also, the dream could tell you that if you can’t stand the heat, you have to leave the kitchen. You must abandon your plans. TOP Living Room To dream of being in the living room represents the image you project to others and the way you live your life. It is representative of your core beliefs about yourself and who you are. Alternatively, the living room testifies to your freedom and space. This is the boundary between your personal self and your public self. Objects that do not belong in the living room denote the various aspects of your life that invade your personal space. TOP Mansion If you see a mansion in your dream, it indicates that you need growth. You may feel like your current situation or relationship is at an impasse. TOP Passageway To explore secret passages in your dreams parallel to something new and/or exciting happening in your waking life. It refers to a new opportunity, a new relationship, or a new outlook on life. If you wake up before fully exploring these passageways, it suggests that you may not know how to take advantage of these opportunities or how to move forward in a relationship. Perhaps the newness and uncertainty of this discovery makes you a little more cautious. Overall, this is a positive dream. TOP Terrace To dream of being on the terrace represents your openness to a certain situation. To dream of the doors to the patio being opened are related to your receptive state of mind. If they are closed, it indicates that you are not open to a situation. Patio doors symbolize the merging of your mental and spiritual state. TOP Porch To dream of a porch represents your personality, social self, facade, and how you present yourself to others. Consider the condition and size of the porch. In particular, if you dream of an enclosed porch, it indicates your tendency to distance yourself from others and your desire for privacy. To dream of an open porch represents your outgoing nature and welcoming attitude. TOP Roof To see a roof in your dream symbolizes a barrier between two states of consciousness. They protect or protect your consciousness, your mentality and your beliefs. The dream gives an overview of how you see yourself and who you think you are. To dream that you are standing on a roof symbolizes unlimited success. If you fall off the roof, it suggests that you don’t have a firm footing or solid foundation in your advanced position. If you dream that the roofs are falling off you as you go from roof to roof, then it means that there is no turning back as you move forward with your goals. You must stay the course and keep moving forward. Replacing a roof in your dream indicates that you need to aim higher and aim higher. To dream of a leaking roof represents distractions, anger, and unwanted influences in your life. New information slowly reveals itself to you. Finally something gets through to you. Alternatively, the dream means that someone is forcing and intruding on you with their thoughts and opinions. To dream of the roof collapsing indicates that your high ideals are collapsing on you. Perhaps you need to reconsider the high expectations or goals you have set for yourself. TOP Room To dream of being in a room represents a certain aspect of yourself or a specific relationship. Dreams about different spaces are often related to hidden areas of consciousness and different aspects of your personality. To dream of finding or discovering a new space indicates that you are developing new strengths and taking on new roles. You can grow emotionally. Consider what you find in the discovered space, as this may indicate repressed memories, fears, or rejected emotions. Alternatively, such spaces are symbolic of neglected abilities or discarded potential. To see an attractive or comfortable room in your dream portends opulence and contentment in life. To dream that you are in an empty white room portends a new beginning. It’s like a blank canvas. You want to start life over again. Alternatively, the dream means that you are trying to isolate yourself. They don’t want outside influences. Seeing a dark, scary, or cramped space means you feel trapped or oppressed in a situation. To dream of a yellow room indicates that you need to use your wits. You feel mentally stimulated. TOP Stairs To dream of walking up a flight of stairs indicates that you are reaching a higher level of understanding. You are making progress on your spiritual, emotional or material journey. The dream is also analogous to material and thoughts coming to the surface. To dream of walking down a flight of stairs represents your suppressed thoughts. You return to your unconscious. It also relates to the setbacks you experience in your life. If you are afraid to walk down the stairs, it means you are afraid to face your suppressed emotions and thoughts. Is there something from your past that you don’t acknowledge? To dream of slipping or tripping on the stairs indicates your lack of confidence or conviction in pursuing an endeavor. If you slip while climbing stairs, it means you are moving too fast towards achieving your goals. If you slip while going down the stairs, it indicates that you are moving too fast to delve into your subconscious. You may not be ready to face your unconscious or repressed thoughts. Seeing spiral or spiral staircases signifies growth and/or rebirth. **See the meaning in action: “Up the stairs” TOP Toilet To see a toilet in your dream symbolizes a release of emotions or letting go of something in your life that is useless. Seeing a clogged toilet in your dream means that you are holding onto your feelings and keeping them to yourself. Your emotions have been pent up for too long. Seeing an overflowing toilet in your dream indicates your desire to fully express your emotions. TOP Walls To see a wall in a dream means restrictions. obstacles and limits. There is a barrier that hinders your progress. You may be too used to your old habits and ways of thinking. To dream that you are jumping over a wall suggests that you will overcome tough obstacles and be successful. To dream that you are tearing down or tearing down a wall indicates that you are breaking through obstacles and pushing your limits. When you see a wall crumbling, it suggests that you have easily overcome your problems and overcome your barriers. To dream of building a wall represents a bad relationship or childhood trauma. They try to keep others away for fear of being hurt again. It also indicates that you have accepted your limitations. To dream that you are hiding behind a wall suggests that you are ashamed to acknowledge your connections. To dream of being thrown or shot through a wall literally means you need to break down the walls you have built around yourself. You must set out and explore. To dream of a house having no walls represents a lack of privacy. You feel like everyone in your organization is looking over your shoulder or up. TOP Window Seeing a window in your dream means bright hopes, great possibilities and insights. If the window of a house is dark, this indicates a loss in your perception or vitality. To dream that you are looking out the window means your outlook on life, awareness and perspective. It also relates to your intuition and awareness. You may be pondering a decision. Or you need to go out into the larger world and experience life. Looking into the window indicates that you are soul searching and looking within yourself. It’s time for an introspection. If you see another face in the window in your dream, it indicates that you are feeling emotionally distant and physically distant. Also consider the emotions depicted on the face. Seeing closed windows in your dream means abandonment and abandonment. Seeing a cracked and shattered window in your dream represents your warped view and warped view of life. It also refers to a state of vulnerability. To dream that you are repairing or replacing a broken window indicates that you are reevaluating your outlook and attitude towards life. You gain a new perspective on things. Seeing a tinted window in your dream represents your need for privacy. You keep some aspects of yourself hidden. They also want to remain ambiguous. To dream that you are cleaning windows indicates that you need some clarity on a matter. Something is not clear. To dream of getting in or out through a window suggests you are involved in some secret or underhanded activity. Alternatively, the dream represents creating your own opportunities. They let things happen instead of waiting for them to happen. If you are falling or being pushed through a window in your dream, it means that you are reluctantly following a plan. You may feel compelled to do something you really don’t want to do. Your own vision is in conflict with someone else’s. Hearing a knock on a window means you have many good opportunities ahead of you. You have many things to look forward to in the near future. TOP Garden Seeing a clean and well-kept yard reflects your ability to maintain and organize aspects of your outdoor life, such as work and your social activities. Seeing a messy and unkempt yard means aspects of your life are out of your control. TOP tweet
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