Tag Archives: C.S. Lewis

Venus revisited

‘Venus. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

The final small version of Venus, finished today – just a day before the exhibition!

I felt the earlier version was twee and unconvincing – I was going for a mythical look which veered towards Disney, when I wanted something a bit more primordial – an Eden-like landscape of lushness. So although I’ll never be satisfied with my attemps at a Venusian atmosphere at least this is a little closer.

I enjoyed painting the rougher brushwork too. Here’s a detail …

Exhibition launches tomorrow, with a performance by my friend and collaborator, the excellent Atzi Muramatsu, who’ll be responding to the themes and paintings on cello! All info here Planets Series

Mars revisited

‘Mars. Planets Series’. Mixed media on 10×10 inch wood panel. Rose Strang 2019

Today’s version of Mars. I attempted a crackle-glaze effect which didn’t work, but I like the immediacy and mad colours. It suggests a castle under attack perhaps.

I’m creating Planets series paintings for two exhibitions this year – a smaller series of studies for a June exhibition at my studio in Abbey hill, in preparation for an exhibition and talk to take place in Autumn this year.

This is a continuation of the Planets Series I’m creating this year, which takes inspiration from the planets as understood in Medieval cosmology, and the seven books of Narnia which were each inspired by the seven planets, as discovered by Michael Ward, author of ‘Planet Narnia’.

Info about June exhibition Here

(I’ll post more about the September exhibition and talk soon, once some more details are confirmed).

My previous version of Mars was far too tame I felt, but I wrote about the corresponding Narnia book, Prince Caspian in a previous post, which you can read on this link; Mars

And here is the corresponding excerpt on Mars from C.S. Lewis’s poem The Planets …

A haughty god
MARS mercenary, makes there his camp
And flies his flag; flaunts laughingly
The graceless beauty, grey-eyed and keen,
Blond insolence – of his blithe visage
Which is hard and happy. He hews the act,
The indifferent deed with dint of his mallet
And his chisel of choice; achievement comes not
Unhelped by him – hired gladiator
Of evil and good. All’s one to Mars,
The wrong righted, rescued meekness,
Or trouble in trenches, with trees splintered
And birds banished, banks fill’d with gold
And the liar made lord. Like handiwork
He offers to all – earns his wages
And whistles the while. White-feathered dread
Mars has mastered. His metal’s iron
That was hammered through hands into holy cross,
Cruel carpentry. He is cold and strong,
Necessity’s song.

Jupiter

‘Jupiter. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

Today’s small painting of Jupiter at 10 by 10 inches, which is very similar to the large one of 40×40 inches. Here’s the larger one, painted earlier this year . .

‘Planets Series. Jupiter’. Mixed media on 40×40″ wood panel. Rose Strang 2018

 

 

 

 

 

 

I’m creating Planets series paintings for two exhibitions this year – a smaller series of studies for a June exhibition at my studio in Abbey hill, in preparation for an exhibition and talk to take place in Autumn this year.

This is a continuation of the Planets Series I’m creating this year, which takes inspiration from the planets as understood in Medieval cosmology, and the seven books of Narnia which were each inspired by the seven planets, as discovered by Michael Ward, author of ‘Planet Narnia’.

Info about June exhibition Here

(I’ll post more about the September exhibition and talk soon, once some more details are confirmed).

I now have just one of the small Planets Series paintings to finish, then they’re complete! I’m going to re-paint Mars, possibly Venus too, as I think they don’t quite capture the idea of Mars and Venus as yet.

This is the Jupiter excerpt from C.S. Lewis’s poem The Planets …

Soft breathes the air
Mild, and meadowy, as we mount further
Where rippled radiance rolls about us
Moved with music – measureless the waves’
Joy and jubilee. It is JOVE’s orbit,
Filled and festal, faster turning
With arc ampler. From the Isles of Tin
Tyrian traders, in trouble steering
Came with his cargoes; the Cornish treasure
That his ray ripens. Of wrath ended
And woes mended, of winter passed
And guilt forgiven, and good fortune
Jove is master; and of jocund revel,
Laughter of ladies. The lion-hearted,
The myriad-minded, men like the gods,
Helps and heroes, helms of nations
Just and gentle, are Jove’s children,
Work his wonders. On his white forehead
Calm and kingly, no care darkens
Nor wrath wrinkles: but righteous power
And leisure and largess their loose splendours
Have wrapped around him – a rich mantle
Of ease and empire.

Beautiful. That line; Where rippled radiance rolls about us
Moved with music – measureless the waves’  is so redolent of the splendour of Jupiter as understood in Medieval imagination.

This part of the poem was also the first clue that t gave Michael Ward (author of Planet Narnia) the idea that the seven books of Narnia might correspond to the planets.

Jupiter relates to The Lion the Witch and the Wardrobe, the first and most popular or most read of the Narnia Chronicles, which first introduces to the four children, the witch and Aslan. ‘Guilt forgiven’ refers to Edmund’s transformation in the story, from blind, selfish resentment and greed, to love for his family and fellow human beings. He experiences deep regret at the pain caused by his selfishness, but he’s forgiven, then Narnia’s one hundred-year winter ends – ‘winter passed’- after Aslan’s sacrifice and rebirth (the most obviously Christian reference of the entire series).

As Michael Ward explains in Planet Narnia, Jupiter was associated with Christ’s sacrifice and rebirth, also the idea of kingship and joviality (Jove). Incidentally I was delighted that Michael Ward chose my larger Jupiter painting as a facebook cover photo on Easter Sunday earlier this year!

Very soon I’ll be announcing details of an upcoming Planets Series event to taker place this Autumn, I can’t yet reveal details until everything’s confirmed but it’s definitely on! My little exhibition in June is a precursor to the event, and a great way of experimenting with ideas for the larger Autumn Planets Series.

Info on the June exhibition here – Planets Series Exhibition

Sun

‘Sun. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

‘Saturn. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

Today’s small paintings, of Sun and Saturn in preparation for the larger Planets Series.

I’m creating Planets series paintings for two exhibitions this year – a smaller series of studies for a June exhibition at my studio in Abbey hill, in preparation for an exhibition and talk to take place in Autumn this year.

This is a continuation of the Planets Series I’m creating this year, which takes inspiration from the planets as understood in Medieval cosmology, and the seven books of Narnia which were each inspired by the seven planets, as discovered by Michael Ward, author of ‘Planet Narnia’.

Info about June exhibition Here

(I’ll post more about the September exhibition and talk soon, once some more details are confirmed).

I’ve already posted a lot about the associations and mythology of Saturn during winter when I tackled a larger version, so I won’t write much about that here. This smaller Saturn was a lot easier as it’s so much more easy to experiment on this smaller scale before I tackle the big paintings later this year.

The Sun corresponds to C.S. Lewis’s Voyage of the Dawn treader, which has possibly the most vivid, beautiful and mystical imagery of the entire series. It’s also hilariously funny, also moving, thanks to the character of Eustace Scrubb, who’s introduced in this book for the first time.

The Voyage of the Dawn Treader is mostly about Eustace when it comes to profound character development in the story – his metamorphosis into dragon, then back to human with Aslan’s intervention, being the pivotal part of his character development.

 

 

 

 

 

 

 

It’s the final scenes though that are the most mind-meltingly beautiful and strange; white lilies stretching to the horizon on a deep green sea that becomes sweet and drinkable, ‘like drinkable light’, so that the characters are able to experience more light . You just have to stop reading the story at that point, to drink in, appreciate and experience the imagery.

 

 

 

 

 

 

It’s classic Lewis –  layers of imagery, literary reference and spiritual connotations.

This is the ‘Sun’ excerpt from C.S. Lewis’s poem ‘The Planets’

The heaven’s highway hums and trembles,
Drums and dindles, to the driv’n thunder
Of SOL’s chariot, whose sword of light
Hurts and humbles; beheld only
Of eagle’s eye. When his arrow glances
Through mortal mind, mists are parted
And mild as morning the mellow wisdom
Breathes o’er the breast, broadening eastward
Clear and cloudless. In a clos’d garden
(Unbound her burden) his beams foster
Soul in secret, where the soil puts forth
Paradisal palm, and pure fountains
Turn and re-temper, touching coolly
The uncomely common to cordial gold;
Whose ore also, in earth’s matrix,
Is print and pressure of his proud signet
On the wax of the world. He is the worshipp’d male,
The earth’s husband, all-beholding,
Arch-chemic eye.

Arch-chemic eye might refer to the Alchemist’s dream of turning ordinary matter to gold (the sun’s associated metal) and this is referred to in the story when the characters arrive on an uninhabited island where they encounter a pool that turns everything that’s immersed in it to gold.

King Caspian and Edmund are affected by this. Imagining the unlimited wealth and power such a pool might bring, they argue about which of them has the highest status in order to own the island and its magic pool – Lucy brings them up short with a rebuke, then Aslan appears on the hill beyond the pool, appearing gold as if it lit by the sun, though the day is overcast. They come to their senses and decide to name the island ‘Death Water’.

 

 

 

 

 

 

Michael Ward’s Planet Narnia explores the most extensive and fascinating associations with the sun in the story and I can’t recommend it highly enough. I think his chapter on Sol is extraordinarily rich and profound in its interpretation, also in its myriad, meaningful associations – truly illuminating.

Put in my simple terms, The Voyage of the Dawn Treader is about light and spiritual illumination gained through the challenge of truth. I don’t think my small painting anywhere near does justice to it really, but it’s good practice for the larger work later this year!

Moon

‘Moon. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

Today’s small painting of the Moon in preparation for the larger Planets Series.

I’m creating Planets series paintings for two exhibitions this year – a smaller series of studies for a June exhibition at my studio in Abbey hill, in preparation for an exhibition and talk to take place in Autumn this year.

This is a continuation of the Planets Series I’m creating this year, which takes inspiration from the planets as understood in Medieval cosmology, and the seven books of Narnia which were each inspired by the seven planets, as discovered by Michael Ward, author of ‘Planet Narnia’.

Info about June exhibition Here

(I’ll post more about the September exhibition and talk soon, once some more details are confirmed).

These small paintings are proving an excellent way to explore ideas on an easier scale before tackling the large paintings for the Planets Series. I think my Moon-influenced painting (above) is suitably amorphous, watery and undefined, though I’d want to add more of the moon’s moonliness to the larger painting.

Yesterday I posted the Mercury part of C.S. Lewis’s wonderful poem ‘The Planets’, so here’s the moon excerpt from his poem …

Lady LUNA, in light canoe,
By friths and shallows of fretted cloudland
Cruises monthly; with chrism of dews
And drench of dream, a drizzling glamour,
Enchants us–the cheat! changing sometime
A mind to madness, melancholy pale,
Bleached with gazing on her blank count’nance
Orb’d and ageless. In earth’s bosom
The shower of her rays, sharp-feathered light
Reaching downward, ripens silver,
Forming and fashioning female brightness,
–Metal maidenlike. Her moist circle
Is nearest earth.

The Moon corresponds to The Silver Chair in C.S. Lewis’s Narnia Chronicles. Its Moon-like or Lunar qualities as imagined by C.S. Lewis and explained by Michael Ward are to do with enchantment, wandering lost, changeability, melancholy, moodiness or lunacy, also the metal silver.

I’ve heard, in person, from police, and hospital staff in A+E that people do indeed act out stranger and more impulsive behaviours on a full moon. The moon affects the tides of the sea of course, and therefore must have an effect on anything that contains water, including ourselves. And of course the moon is associated with women and menstruation since the moon’s cycles loosely correspond to that, and the sight of the moon swelling up then disappearing each month reminds us of pregnancy. And so it’s very much seen as a female influence across all cultures; Lady Luna.

Gazing at the moon is pretty wondrous when out in the countryside unpolluted by city lights, but I think the most entrancing moon-view I ever had was when I arrived in Venice for the first time back in 2001. I was there for the Venice Bienalle with Richard Demarco and company and we arrived at night, then entered Canal Grando in a water boat. It was an enormous silvery full moon, the sky was velvety black and also slightly misty. The domes, Byzantine palaces and waterways of Venice looked enchantingly beautiful. Unreal. It was so utterly stunning that my heart was actually palpitating rapidly!

La Serenissima as Venice is called – an appropriate and feminine title, inspired by its many hundreds of years in the past, enjoying peaceful trade between all nations.

Farmers have planted or harvested crops according to moon cycles since pre-history, with the idea being that a waxing (growing) moon draws water into things, and a waning one takes water away. Not being a farmer or even gardener, beyond caring for the odd pot plant, I can’t attest to that and I assume that thousands of generations of farmers and planters can’t be wrong.

So the moon has a clear influence on our world. To the Medievalists, the Moon distorted the influence of the other planets and the divine realm of God, and anything beneath the moon was termed sub-lunar.

Lewis’s The Silver Chair launches immediately into moon-influenced territory of wetness and melancholy; Jill Pole has been bullied at school and is crying on a dreich, overcast Autumn day, then Eustace enters (transformed by his experience on the Dawn Treader when he was de-dragonified by Aslan, personifying the Sun’s light). Eustace offers a possible way out to the land of Narnia.

They escape, not to Narnia as yet, but to a land above the moon’s sub-lunar influence – a peaceful mountain-top forest glade filled with birds of paradise. Eustace falls off a cliff into the clouds below during an argument with Jill, who is subsequently wracked with guilt, also thirst, but the only stream is guarded by an enormous lion (Aslan of course). She plucks up courage to drink and is challenged by Aslan to be truthful about why Eustace fell off the cliff. She admits it was because she was showing off her lack of fear of heights (or depths).

Aslan explains that due to her mistakes, their task will be more difficult. They must find King Rillan who has been enchanted and lost for many years. He warns Jill that thoughts will become vague in the land below, he then transports her down to Narnia where she encounters Eustace. They then embark on their adventure with the wonderful Puddleglum – a somewhat pessimistic creature called a Marshwiggle who lives in the wet marshes of Narnia.

Together they all journey across the far north of Narnia in winter. They become lost – forgetting the signs and instructions given by Aslan, but end up in a deep underground world where they travel across the subterranean seas, and eventually encounter King Rillian, who has been enchanted by ‘the Lady of the Green Kirtle’, and the silver chair to which he’s bound each evening to keep him imprisoned while he remembers the truth. One of the signs given by Aslan is that they must pay attention to anyone who speaks in the name of Aslan, and while King Rillian raves and shouts in the chair, apparently mad, they find him frightening but when he asks them to free him in the name of Aslan they realise they have to obey the sign.

Releasing him from the spell entails waking up from dreaming to awareness. They have by this time been enchanted to believe that the world above the subterranean caverns doesn’t exist. It’s Puddleglum who cuts through the enchantment and remembers that there is a real sun and moon, and lion called Aslan. Eventually they emerge from the subterranean world into Narnia again, where King Rillian is restored to the throne.

The first thing they see when they emerge from the underworld  though, is the creatures of Narnia dancing a complex dance at night, that relies on everyone interacting closely, and with awareness, for it to work as a dance.

I’d recognised the echoes of Plato, and the myth of Hades in the story, before reading Michael Ward’s Planet Narnia, but the understanding of planetary influence on the Narniad as discovered by Michael Ward gives an entirely different dimension. These stories are infinitely richer and more profoundly inspiring when understood from this new perspective. I’m currently re-reading The Magician’s Nephew for example, and I’m amazed by the complexity and depth of ideas when it’s understood as Venus-influenced.

What I take from The Silver Chair at the end, is the notion of the riches that we can discover when we delve deep into the darkness of our difficult emotions, our memories, mind, subconscious or experience of life – uncovering a deeper truth from below the layers of obscurity – real, living jewels of Bism. The Moon is a less harsh teacher than authoritarian Saturn – but you have to voluntarily delve deep to acquire wisdom. The last paragraph of The Silver Chair …

The opening in the hillside was left open, and often in hot summer days the Narnians go in there with ships and lanterns and down to the water and sail to and fro, singing, on the cool, dark underground sea, telling each other stories of the cities that lie fathoms deep below. If ever you have the luck to go to Narnia yourself, do not forget to have a look at those caves.

Mercury

‘Mercury. Planets Series’. Mixed media on 10×10″ wood. Rose Strang 2019

Today’s small painting of Mercury in preparation for the larger Planets Series.

I’m creating Planets series paintings for two exhibitions this year – a smaller series of studies for a June exhibition at my studio in Abbey hill, in preparation for an exhibition and talk to take place in Autumn this year.

This is a continuation of the Planets Series I’m creating this year, which takes inspiration from the planets as understood in Medieval cosmology, and the seven books of Narnia which were each inspired by the seven planets, as discovered by Michael Ward, author of ‘Planet Narnia’.

Info about June exhibition Here

(I’ll post more about the September exhibition and talk soon, once some more details are confirmed).

Mercury corresponds to The Horse and his Boy in C.S. Lewis’s Narnia Chronicles – a book that grew on me more and more each time I read it. Its Mercurial qualities, as imagined by C.S. Lewis and explained by Michael Ward are to do with messengers, communication, speed and twins among many other things, reflecting the God Mercury (also known as Hermes) the winged messenger, the fact that Mercury rules the constellation sign of Gemini (the twins) and of course the quicksilver nature of mercury itself as a metal.

I haven’t yet posted C.S. Lewis’s ‘The Planets’ poem, which was remiss of me since it was reading this poem which led Michael Ward to the discovery that each of the Narnia Chronicles corresponds to the Medieval planets.

It’s a beautiful poem, but for today, I’ll just post the part of the poem that corresponds to Mercury …

Next beyond her
MERCURY marches;–madcap rover,
Patron of pilf’rers. Pert quicksilver
His gaze begets, goblin mineral,
Merry multitude of meeting selves,
Same but sundered. From the soul’s darkness,
With wreathed wand, words he marshals,
Guides and gathers them–gay bellwether
Of flocking fancies. His flint has struck
The spark of speech from spirit’s tinder,
Lord of language! He leads forever
The spangle and splendour, sport that mingles
Sound with senses, in subtle pattern,
Words in wedlock, and wedding also
Of thing with thought.

It’s difficult to say why I enjoy the Horse and his Boy so much out of the series, it’s richly imagined, as always, with atmospheric contrast between the lush decadence of Tashban, the brutally hot desert and the cool green woodlands and hills of Archenland. Descriptively it’s testimony yet again to Lewis’s genius for relating atmosphere, but I think the characters are equally compelling, possibly because of the journey and character development they experience.

The two main characters, Shasta and Aravis, both undergo a change in consciousness – Shasta experiences acceptance for the first time in his life since being abandoned as an infant. Aravis also experiences acceptance, and learns compassion and consideration for others, having been treated if anything even more cruelly than Shasta.

In the book, Aravis tells her story (in a style the horse Bree describes as ‘high Calormen’ , stylistically the equivalent of the Arabian Nights). She describes how, after her mother died, her father re-married and arranged to have Aravis married off to a man decades older, who she has never met, although she’s only 12 years old.

Aravis decides that suicide is the only route to escape, and sets herself to this grim task in a forest clearing, but  her mare, Hwin (a talking horse from Narnia who’s been captured in slavery) intervenes and pleads with Aravis to live and attempt escape to Narnia.

Harrowing stuff for a ‘children’s story’, but as always Lewis deals with these more brutal realities using a distanced or lighter touch; in this case ‘High Calormen style’, yet it’s still one of the most moving passages in the Narnia Chronicles. And it demonstrates several Mercurial qualities:

Commerce – com-merce. Merchants. The idea of Mercury  the messenger- trading and exchange. Aravis is being sold by her own family. Shasta’s adoptive father also tries to sell him to a rich merchant.

Communication – verbosity, writing, speech. Aravis has a fine, articulate grasp of language thanks to a privileged, though cruel, up-bringing.

Shasta then becomes an involuntary messenger who has to deliver important news with haste – he discovers that Archenland, ruled by King Lune, and then the castle of Cair Paravel in Narnia will be attacked by Calormen.

Shasta, Aravis, and the horses Bree and Hwin must speed across the desert from Tashban to Archenland to warn King Lune before they’re attacked, and in the final rush to warn the king, Shasta has to run across land for miles to deliver the message before it’s too late. All very Mercurial! Lastly, he discovers that he is in fact the twin of King Lune’s son – bringing in the Mercury and Geminian theme of twins.

When painting my view of a castle under the influence of Mercury, I tried to get the sense of quicksilver through paint dripping and merging representing the sea that surrounds the castle at high tide – Same but sundered – the idea of twos in birds flying above the castle (winged messengers), and two very small boats which might meet in the waterways. The last idea was a reference to words and communication (a bit clunky maybe as a reference!) in the fine blue lines drawn horizontally suggesting writing paper. Mercury is a bright star, and represents bright ideas too, so I gave the castle a halo of light, which doesn’t show up quite so well in the photo (at the top of this post). I think it works quite well as an image.

And here’s a quick sketch I did earlier ..

‘Mercury, sketch’. Mixed media on paper. Rose Strang 2019.

 

 

 

 

 

 

 

 

Tomorrow I’ll post my Moon painting, which still needs a bit of work…

Planets Series Open Studio Day

‘Planet Series, Saturn’. Oil and mixed media on 40×40″ wood panel. Rose Strang 2019

‘Planets Series. Jupiter’. Mixed media on 40×40″ wood panel. Rose Strang 2019

Above, the first two paintings from the Planets Series which I’m working on throughout 2019.

This Sunday there will be an Open Studio day at Abbeyhill to view the paintings, all info here Open Studio Event

This series of paintings takes inspiration from the planets as understood in Medieval cosmology and mythology, and the seven books of Narnia which were each inspired by the seven planets.

All info about inspiration for the series below ..

C.S. Lewis, the planets and the Narnia Chronicles

Until recently, literary critics tended to be slightly dismissive of the Narnia Chronicles. They appear to be a random set of stories, with unruly themes and a vague Christian element that comes to the fore most obviously in The Lion, the Witch and the Wardrobe and The Last Battle. Critics were confused about the structure of the stories; Tolkien (a close friend of Lewis) described them as a ‘hodge-podge’! Yet The Narnia Chronicles are among the most enduringly popular children’s stories of all time (over one hundred million have sold since their publication in the early 1950s).

They have broad appeal, not just to children but to adults, also to varying religious groups due to Christian themes (Lewis wrote on theology), and literary academics since Lewis was a scholar and professor of Medieval Classics. The author Michael Ward, one of the world’s leading experts on C.S. Lewis, was completely familiar with Lewis’s work and was the first person (publicly at least) to recognise that the books were inspired by the seven planets.

This wasn’t obvious to the average reader (or any reader) since C.S. Lewis deliberately obscured the idea of planets in the books – there is very little mention of planets, sun or moon other than the usual descriptions of light, time of day or night and so on. It took someone dedicated to Lewis’s work to recognise the particular mythologies and qualities of each planet, and to see that each of the books was written ‘under the influence’ of the planets.

C.S. Lewis wasn’t being secretive simply to amuse himself, this was more a reflection of his philosophy – he believed that objectivity, or pure reason, stultified imagination and therefore the emotional (or spiritual) influence and atmosphere of a story. He wanted readers to experience the effect of each planet, rather than understand the stories as allegories, or a series of symbols to be recognised by an educated few. As Michael Ward writes in Planet Narnia, the distinctive atmosphere in Lewis’s fiction was a deliberate and important element of his approach to story-telling.

The planets

Each of the seven books of the Narniad correspond to the planets as understood in Medieval cosmology…

Jupiter (The Lion the Witch and the Wardrobe) Mars (Prince Caspian), Sun (Voyage of the Dawn Treader), Venus (The Magician’s Nephew), Mercury (The Horse and his Boy), Moon (The Silver Chair) and Saturn (The Last Battle).

About the planets series of paintings …

 ‘Planets Series. Saturn’ …

‘Planet Series, Saturn’. Oil and mixed media on 40×40″ wood panel. Rose Strang 2019

(Side View) ‘Planet Series, Saturn’. Oil and mixed media on 40×40″ wood panel. Rose Strang 2019

 

 

 

 

 

 

 

Then Aslan said, ‘Now make an end.’

The giant threw his horn into the sea. Then he stretched out one arm – very black it looked, and thousands of miles long – across the sky till his hand reached the Sun. He took the Sun and squeezed it in his hand as you would squeeze an orange. And instantly there was total darkness.

C.S. Lewis The Last Battle

Saturn is the planet of endings, death, law, structure, order, liberation or learning following sacrifice, and time (the myth goes that Father Time will be the last person on earth at the end, who will extinguish the sun).

Saturn’s influence was understood in Medieval cosmology as dark, powerful and oppressive – it was perceived as the ultimate teacher through challenges or difficult experience. Its associations were Winter, the winter equinox, the darkest months of the year – December and January, the constellations Capricorn (goat) and Aquarius (water bearer). Its element is earth, its day, Saturday. Colours – black, dark and earthy colours. Associated animals include crows, ravens, owls…

Festivals, rituals and feasts have traditionally been held at the winter equinox since ancient times. Christmas adopts the date and corresponds to the themes of death and rebirth associated with Saturn.

‘Planets Series. Jupiter’…

‘Planets Series. Jupiter’. Mixed media on 40×40″ wood panel. Rose Strang 2018

(Side view) ‘Planets Series. Jupiter’. Mixed media on 40×40″ wood panel. Rose Strang 2018

(Hand to show scale) ‘Planets Series. Jupiter’. Mixed media on 40×40″ wood panel. Rose Strang

 

 

 

 

 

 

 

Every moment the patches of green grew bigger and the patches of snow grew smaller. Every moment more and more of the trees shook off their robes of snow. Soon, wherever you looked, instead of white shapes you saw the dark green of firs or the black prickly branches of bare oaks and beeches and elms. Then the mist turned from white to gold and presently cleared away all together. Shafts of delicious sunlight struck down on to the forest floor and overhead you could see the blue sky through the treetops.

The Lion, the Witch and the Wardrobe 

In one of Lewis’s ‘Planets’ poems from the 1940’s, he describes the influence of Jupiter as Winter passed, Guilt Forgiven.

Jupiter represents the overcoming of Saturn and long winter. Not quite the arrival of spring (associated with Mars) but around February and March the days become noticeably longer and we see the first snowdrops.

Jupiter, ruler of Sagittarius and Pisces was seen as the ruler of all the planets. Jove (Roman title) was the name of the ruler of Jupiter, which also relates to Zeus (Greek title) and Thor (Norse), god of thunder, storm and the north wind.

Subjects associated with Jupiter were higher learning, theology, the cosmos and the sea. Qualities – joviality (optimism, laughter), honesty, monarchy or kingship. Colours – azure blue, sea green, purple. Animals – horses, dolphins and various others including the mythical centaur. Plants – wood anenome, celandines (among many others). Trees – Oak mainly (associated with Thor, also associated with Jupiter). Day – Thursday.

Also … Wardrobes! These were items of furniture which held robes worn by nobles of the court – ‘Ward Robes’ – associated with monarchy and therefore Jupiter.

(References:  Michael Ward’s Planet Narnia (2008) , and the Three Books of Occult Philosophy by Heinrich Cornelius Agrippa (1486-1535))

If you have any questions about the paintings email rose.strang@gmail.com