Check out this visual eye nectar from a passionate landscape photographer and filmmaker from Norway, Terje Sorgjerd.
The Aurora Borealis
Milky Way Galaxy (Mountain top)
To dream you lose your way, warns you to disabuse your mind of lucky speculations, as your enterprises threaten failure unless you are painstaking in your management of affairs.
To dream that you lose your way, signifies the threat of failure in your endeavor.
To dream that you are finding your way, represents the decisions and choices that you need to make in your waking life. Alternatively, the dream may be a pun on "weigh". Perhaps there is a decision that you need to weigh and think through carefully.
Dreaming that you lose your way means the threat of failure in your endeavors.
To see the galaxy in your dream, represents your creativity. It also means that you are looking at the broader picture and are more aware of your surroundings.
Seeing the galaxy in your dream, represents your creativity. It also means that you are looking at the broader picture and are more aware of your surroundings.
To see or make nectar in your dream, symbolizes sweetness and joy. Things are going very well for you in your life.
To drink nectar in dream indicates riches and prosperity. You will be beyond your
expectations. You will marry a handsome person in high life and live in great state.
Logically speaking it may be deduced that the countryside—
landscapes of all kinds—is the mundane manifestation of a dynamic complex
which in origin was non-spatial. Inner forces are liberated to unfold as forms
which disclose in themselves the qualitative and quantitative order of their inner
tensions. Thus a mountain crest becomes a graphic sign. Let us take, by way of
illustration, landscapes as they appear in dreams. Leaving aside the phenomenon
of memory, reminiscence, or the complex association of various sense-data, the
scenes and towns which figure in dreams are neither arbitrary and indeterminate
nor objective: they are symbolic—that is, they well up in order to illuminate
certain momentary experiences called forth by varying combinations of influences in varying degrees of intensity. Landscape-scenes arising in the imagination
in this way are sustained solely by the validity, duration and intensity of the
feelings which aroused them. Form—just as in physical morphology—is the
diagram of force. Now, what we have said about landscapes in dreams can be
applied also to an actual landscape, seen and selected by an automatic response of
the unconscious, which detects in it an affinity that gives us pause and makes us
return to it again and again. This, then, is a question not of a projection of the mind
but of an analogy whereby the landscape is adopted by the spirit in consequence
of the inner bond linking the character of the scene with the spirit of the observer
himself. Subjectivism concerns only the act of choosing. The intellection of the
significance of a landscape is, then, wholly objective, as is the grasping of the
symbolic values of colours and numbers. The Chinese saw this with the utmost
clarity: as Luc Benoist has observed, Chinese art has always placed more emphasis upon landscape than upon man (as a figure, that is to say), and upon the
macrocosm rather than the microcosm. ‘If the superior man loves the countryside,’ to quote the words of Kuo Hsi, ‘why is this so? Hills and gardens will
always be the haunts of him who seeks to cultivate his original nature; fountains
and rocks are a constant joy to him who wanders whistling among them. . .’ (6).
It is a well-established tradition of symbology that the different worlds (or zones)
are strictly only different states of being. Hence the fact that the ‘chosen site’ is
the enshrining image which arises out of it. The ‘trysting place’, when it truly
possesses that character, and is not merely arbitrary or fortuitous, signifies a
meeting or ‘conjoining’ in precisely this same sense—that is, transposed into topographical or spatial terms (26). However revolutionary these assertions may
seem, they are nevertheless confirmed by the findings of the psychology of form
and by isomorphism, since it has been shown that it is not possible to distinguish
between psychic and physical formal processes—other than externally. In support of all this, there is the comment of Mircea Eliade that ‘In point of fact, man
never chooses a site, he simply “discovers it”. . . . One of the means of discovering
one’s situation is by orientation’ (17). Now, in order to grasp the symbolic sense
of a landscape it is necessary to distinguish between the predominant elements
and the merely incidental, and between the character of the whole and the character of the component elements. When the predominant element is a cosmic one,
its effect is to bind all the other components together, and it is this cosmic
ingredient which makes its influence felt over and above that of the individual
features of the landscape. Instances of such cosmic features are the sea, the
desert, the icy wastes, the mountain-peak, clouds and sky. It is when the ingredients of landscape-symbolism are varied and evenly balanced that symbolic interpretation is most needed. The interpreter must, then, look for the following: (a)
a spatial pattern organized within particular limits which endow it with a structure after the manner of a building or a work of art. By spatial symbolism we
mean, in the first place, the symbolism of level, that is, the disposition of the
zones of the landscape according to the three levels of the normal, the lower and
the higher; and secondly the symbolism of orientation, that is, the position of the
accidental elements in relation to the north-south and the east-west axes. He must
then bear in mind (b) the form—the pattern or the shape of the terrain, whether
it is undulating or broken, steeply sloped or flat, soft or hard; (c) the positional
relationship of the particular area chosen to the region as a whole or to the zone
surrounding it—whether it is lower or higher, more open or more enclosed; and
finally (d) the natural and artificial elements which make up the organized pattern: trees, shrubs, plants, lakes, springs, wells, rocks, sandy shores, houses,
steps, benches, grottoes, gardens, fences, doors and gates. Also important is the
predominating colour, or the clash of colours, or the general feeling of fecundity or
barrenness, of brightness or gloom, of order or disorder. Roads and cross-roads
are of great significance, and so are streams. About the objective meaning of each
of the factors we have listed above there is much that we could say; however,
since the more important factors—such as the symbolism of level—are dealt
with under separate headings, we will here add no more than a few notes. Steepness indicates primitiveness and regression; flat country denotes the apocalyptic
end, the longing for power and for death. There is a Persian tradition that, when
the end of the world has come—when Ahriman is vanquished for ever, the mountains will be levelled and all the earth will become one great plain. Ideas cognate with this are to be found in certain traditions of Israel and France (35). It would
not be hard to point to the history of architecture and town-planning as evidence
of the subconscious application of these principles. Furthermore, there are some
aspects of landscapes which have a symbolic air about them that is very difficult
to analyse intellectually. For instance, the following descriptive passage from
Dante’s Commedia has always seemed to us to evoke an atmosphere of profound
mystery: ‘Around this little island, in its lowest reaches, there, where it is lashed
by the waves, reeds grow in the soft mud’ (Purgatorio I, 100). Independent of the
cosmic significance of landscape, there may also be a sexual implication. It is also
essential to bear in mind that this is not strictly a matter of symbols as such but
of complex, symbolic functions. For instance, in scenes depicting low-lying topographical features, the following factors may be at work: (a) depth in the sense
of what is base, comparable therefore with the wicked and infernal; (b) depth in
the sense of what is symbolically profound; (c) depth as it pertains to the material earth itself, implying a chthonian and maternal symbolism. Only the context
can help us to tell the essence from the accessory—as is true also of the vast
majority of symbols. Here we must bear in mind the primitive concept of the
archetypal ‘ideal countryside’. Schneider has observed that the fact of there being
so many identical names for rivers and mountains in different parts of the world,
suggests that megalithic ways of thought must have led to the custom of naming
the topographical features of different regions after some ideal model. This model,
it may be argued, could be the product of the lasting impression made upon the
mind of Primitive Man by a particular environment endowed with such unity and
variety as to prevent him from ever wishing to leave it; but it could also be
explained as the projection of a psychic order founded upon laws comparable
with those governing quaternary patterns, or the mandala, etc. Man’s attention
was first drawn to the contraposition of heaven and earth by topographical
features, and he gave expression to this in the struggle between gods and Titans,
angels and demons, and in the opposition of mountain and valley. Next, he set out
to explain the earth’s surface by means of the laws of orientation, taking the four
points of the compass from the apparent orbit of the sun as well as from the
human anatomy, and identifying them as ambivalent forces—ambivalent because
they are at once hostile to things external and the defenders of their limits. As
Schneider adds: ‘To preserve cosmic order, the gods fought with the giants and
the monsters which had from the very beginning of creation sought to devour the
sun. They stationed the heroic lion on the celestial mountain. Four archers’—the
tetramorphs—’are continuously on guard day and night against anyone who
attempts to disrupt the order of the cosmos’ (50). The stockade, the wall or stone
enclosure, comments Eliade, are among the oldest known parts of the structure of temples, appearing as early as in proto-Indian civilizations such as that of MohenjoDaro and also in Crete (17). They owe their origins to the same basic, primordial
idea of the symbolism of landscape—its representation of cosmic order. The
mountain with one peak is symbolic of the One—of transcendent purpose; the
two-peaked Mountain of Mars stands for the Gemini, the world of appearances
and the dualism of all forms of life. Both these symbolic mountains find their
symbolic complement in the general pattern of archetypal landscape—also, incidentally, an image of the year; this pattern is composed of the river of life (denoting the positive phase) and the river of oblivion (the negative phase) which flow
through the sea of flames (expressing infirmity) and well up from a single source
(birth or the Origin). According to this scheme, every landscape has a disastrous
and a felicitous tendency, corresponding on the temporal plane with the selfevident distinction between ‘coming’ and ‘going’ which in turn is analogous to the
two halves of human existence. But, quite apart from all this, the symbolic
interpretation of a landscape may be determined according to the laws governing
diverse and individual correspondences, as well as the overall significance derived
from the complex of meanings afforded by its separate features. By way of an
illustration of the many possibilities of interpreting the significance of a landscape, we will conclude with some comments on Vallcarca with its characteristic
low-lying features. The gardens are at a lower level than the city proper, and
screened from it by the vegetation, which has something of the archaic and oriental about it. The main street leads north towards an open plain, signifying the
process of disintegration. On the other hand, those streets which lead towards the
mountain are on the favourable axis. In this case, the interpretation is obvious
enough, as it is in all instances of scenes where it is possible to identify the
essential features of archetypal landscape.
To dream of various landscapes in your dream, represent where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? Consider what is going on in the landscape and how it may parallel your own waking life. In particular, a barren or dry landscape depicts dissatisfaction in your love life. According to Freud, the dream landscape symbolizes the human body. A landscape with gentle contours symbolize the female body, while a rocky landscape represents the male body. Also consider the feelings that the landscape invokes.
To dream of ever changing landscapes, indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Something may be slipping away from your grasp. Look at the symbolism of key elements in the landscape.
Dreaming of various landscapes in your dream, represents where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? According to Freud, the landscape symbolizes the human body. Dreaming of ever changing landscapes indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Consider the symbolism of key elements in the landscape.
The essence of the question involved here is contained in the saying of
Plotinus that the eye would not be able to see the sun if, in a manner, it were not
itself a sun. Given that the sun is the source of light and that light is symbolic of
the intelligence and of the spirit, then the process of seeing represents a spiritual
act and symbolizes understanding. Hence, the ‘divine eye’ of the Egyptians—a
determinative sign in their hieroglyphics called Wadza—denotes ‘He who feeds
the sacred fire or the intelligence of Man’ (28)—Osiris, in fact. Very interesting,
too, is the way the Egyptians defined the eye—or, rather, the circle of the iris
with the pupil as centre—as the ‘sun in the mouth’ (or the creative Word) (8). René Magritte, the surrealist painter, has illustrated this same relationship between the sun and the mouth in one of his most fascinating paintings. The possession of two eyes conveys physical normality and its spiritual equivalent, and it
follows that the third eye is symbolic of the superhuman or the divine. As for the
single eye, its significance is ambivalent: on the one hand it implies the subhuman
because it is less than two (two eyes being equated with the norm); but on the
other hand, given its location in the forehead, above the place designated for the
eyes by nature, it seems to allude to extra-human powers which are in fact—in
mythology—incarnated in the Cyclops. At the same time the eye in the forehead
is linked up with the idea of destruction, for obvious reasons in the case of the
single eye; but the same also applies when there is a third eye in the forehead, as
with Siva (or Shiva). This is explained by reference to one of the facets of the
symbolism of the number three: for if three can be said to correspond to the
active, the passive and the neutral, it can also apply to creation, conservation and
destruction. Heterotopic eyes are the spiritual equivalent of sight, that is, of
clairvoyance. (Heterotopic eyes are those which have been transferred anatomically to various parts of the body, such as the hands, wings, torso, arms, and
different parts of the head, in figures of fantastic beings, angels, deities and so on.)
When the eyes are situated in the hand, for example, by association with the
symbolism of the hand they come to denote clairvoyant action. An excessive
number of eyes has an ambivalent significance which it is important to note. In
the first place, the eyes refer to night with its myriads of stars, in the second
place, paradoxically yet necessarily, the possessor of so many eyes is left in
darkness. Furthermore, by way of corroboration, let us recall that in symbolist
theory multiplicity is always a sign of inferiority. Such ambivalences are common
in the realm of the unconscious and its projected images. Instructive in this
connexion is the example of Argus, who with all his eyes could not escape death.
The Adversary (Satan, in Hebrew) has been represented in a variety of ways,
among others, as a being with many eyes. A Tarot card in the Cabinet des Estampes
in Paris (Kh. 34d), for instance, depicts the devil as Argus with many eyes all over
his body. Another comparable symbolic device is also found commonly in demonic figures: it consists of taking some part of the body that possesses, as it
were, a certain autonomy of character or which is directly associated with a
definite function, and portraying it as a face. Multiple faces and eyes imply
disintegration or psychic decomposition—a conception which lies at the root of the demoniacal idea of rending apart (59). Finally, to come back to the pure
meaning of the eye in itself, Jung considers it to be the maternal bosom, and the
pupil its ‘child’.
Thus the great solar god becomes a child again, seeking renovation at his mother’s bosom (a symbol, for the Egyptians, of the mouth) (31).
1 The Jungian idea is expressed as a pun. ‘Niña’ means both ‘daughter’ and ‘pupil (of the eye)’. The
phrase ‘Niña de los ojos’ is like the English ‘apple of one’s eye’, which gives something of the feel of
To dream of seeing an eye, warns you that watchful enemies are seeking the slightest chance to work injury to your business. This dream indicates to a lover, that a rival will usurp him if he is not careful.
To dream of brown eyes, denotes deceit and perfidy.
To see blue eyes, denotes weakness in carrying out any intention.
To see gray eyes, denotes a love of flattery for the owner.
To dream of losing an eye, or that the eyes are sore, denotes trouble.
To see a one-eyed man, denotes that you will be threatened with loss and trouble, beside which all others will appear insignificant.
Seeing your own eyes in your dream, represents enlightenment, knowledge, comprehension, understanding, and intellectual awareness. Unconscious thoughts may be coming onto the surface. The left eye is symbolic of the moon, while the right eye represents the sun. It may also be a pun on "I" or the self. If you dream that your eyes have turned inside your head and you can now see the inside of your head, then it symbolizes insight and something that you need to be aware of. This dream may be literally telling you that you need to look within yourself. Trust your intuition and instincts. Dreaming that you have something in your eye, represents obstacles in your path. Alternatively, it may represent your critical view and how you tend to see faults in others. Dreaming that you have one eye indicates your refusal to accept another viewpoint. It suggests that you are one-sided in your ways of thinking. Dreaming that you have a third eye, symbolizes inner vision and insight. You need to start looking within yourself. Dreaming that your eyes are injured or closed, suggests your refusal to see the truth about something or the avoidance of intimacy. You may be expressing feelings of hurt, pain or sympathy. Dreaming that you have crossed eyes indicates that you are not seeing straight with regards to some situation. You may be getting your facts mixed up.
To see a check in your dream, suggests that you may feel indebted to others. The dream may also be a pun on checking things out.
To see a blank check in your dream, symbolizes your unused potential. It may also indicate unclaimed rewards.
To see a check mark in your dream, indicates approval and acceptance. Your hard work has paid off.
Seeing a check in your dream, suggests that you may feel indebted to others. The dream may also be a pun on checking things out. Seeing a blank check in your dream, symbolizes your unused potential. It may also indicate unclaimed rewards. Seeing a check mark in your dream indicates approval and acceptance. Your hard work has paid off.