Dreaming

 

The Heroes of our Quest reveal themselves

in a number of different forms, according to the stage of the quest.

 If you look at the most successful two and three dimensional art of our time –

the art of Norman Rockwell, for example, or the figurines of Hummel, Lladro, or Precious Moments,

the various phases of the Hero’s work stand revealed. Key amongst these

are Dreaming, Striving, and the Encounter with an Obstacle (Impasse).

 

All turn on our Helper instinct,

to a greater or lesser degree, depending

on the status of the Hero. Characters who are much

younger and much older than us – weaker, in other words,

turn us on the most. Those who could offer us protection and immense treasures

are also likely to make us feel like helping, but those who are

competitors for our resources may still affect us,

but much less so. Unless, of course we

are looking for someone to befriend –

or unless we are seeking

a mate.

 

   

 

Dreams may be actual dreams,

with the character asleep,

in art sometimes, with clues offered to the content of those dreams.

They may be hopes – what will I be when I grow up?

Or anticipations – on a journey, perhaps - or in front of a shop window.

And nostalgias – ‘Dreaming in the Attic’ was a big big success – an archetypal situation,

plus attention getting, full face, single character focus.

 

     

 

Similarly with poignant image of the lady at the breakfast table,

 dreaming of something she has lost.

And Leaving Home, where different characters are each lost in their own dreams,

some happy, some sad

 

Typically, dreaming is denoted either by gazing into space,

often resting one’s head (or of course, by the eyes actually being shut).

This triggers us to question what is being dreamed about, and inspires a sense

of sympathy and perhaps even the urge to help. In the Lladró figurine

below the girl is dreaming while strolling somewhere.

 Note how Lladró create a sense of tranquillity

and lightness in everything - the floating

hand, and ‘floating’ drapery,

held in the girl’s

other hand.

 

As Lladró say

 “these are the themes present in the art of Ancient Greece and Rome;

they are the delicacy and the enchantment of childhood,

acting with subterfuge to awaken in the observer sentiments

of love, tenderness, and the respect for life that palpitates

everywhere and everywhen…”

They talk of portraying “the dreamy abandon of childhood”,

and “the delicate messages of the childlike soul”.

And since “the face is the mirror of the soul”

the faces of child and young lady alike are childlike.

(see ‘Kinderschema’, in section below on Tricksters, below)