Originally written on: 14 July 2016 Religious paintings from the early Italian Renaissance were divided into two separate categories: images and stories. Following tradition, “an image was a representation of a person, [like] a saint, and was often used as a focus for devotion, while a story was a narrative [that displayed] an event, and its main purpose was [to be educational and moralizing]” (Hope). Images were typically comprised of one or more stoic, religious figures placed in a static posture and environment. These pieces of artwork were intended to represent eternal ideals and individuals, and were used as a tool for meditation and prayer. Stories, however, could be much more dramatic and dynamic, covering topics like the creation and fall of man, or the crucifixion of Jesus. Stories were often used to remind its viewers of biblical stories’ modern relevance— placing contemporary figures and settings within the artwork—and were also used for political reasons by the wealthy or influential. One popular narrative depicted during the Renaissance was the Adoration of the Magi (or the Eucharistic Adoration); the Adoration details the journey of three kings that follow a star to find and worship the Jewish messiah, bringing with them gifts of gold, frankincense, and myrrh. This biblical narrative, based on Matthew 2:1-12, is often split into two parts, but has been divided into four: the meeting, the procession, the adoration, and the dream. Several artists from the Italian Renaissance have brought this image to life through marble, stone, fresco, and tempera, each obtaining a very different outcome. Gentile da Fabriano’s Adoration of the Magi (1423) and Sandro Botticelli’s Adoration of the Magi (1475- 1476) are interesting to compare, as they are a generation apart, use different narrative techniques to tell a story through paint, and both recount the same information while emphasizing distinct aspects. Gentile was well known for “lavish paintings in the courtly tradition” (Adams, 85), utilizing the deepest, most vibrant colors available and pairing them with ornately patterned surfaces/textures. He often painted dreamy individuals with rounded, soft faces and heavy-lidded eyes, and had an attention to detail when forming landscapes, clothing, and animals (the J. Paul Getty Museum). His altarpiece painting, Adoration of the Magi, was created near the end of his life, in 1423, at the request of Palla Strozzi. Strozzi was a very influential—and also the wealthiest—Florentine man who wanted to surpass the Medici family’s image of grandeur through the commission of an elaborate and extremely expensive piece of artwork (Adams, 85). For his work, Gentile was paid 300 florins (Hollingsworth, 41). Gentile painted in the International Gothic style, which featured exoticism, nature, crowded imagery, and luxurious materials (Adams, 86). Due to this, the story begins in the elaborate background, starting in the left and following the procession across the main panel, to the right. The painting is a continuous narrative (or pictorial déjà vu), chronicling the magi in five places and their procession in four locations, causing the image to become confusing. The repetitive characters display movement through time, from one event to the next, and are not meant to be literally shown as being in several places at once. Yet, the sense of depth and realistic imagery Gentile achieves conflicts with the pictorial déjà vu, but leads to heightened naturalism and episodic story-telling (Oxford University Press and the National Gallery of Art). This painting, like most Renaissance art, requires knowledge of religious texts, contemporary figures, and symbols to fully understand the narrative. To begin, atop a large rock on the left, the three kings stand staring up at the sky, where the prophesized star is located. The addition of soldiers killing a young, well-dressed man (perhaps Herod’s son), a castle with a walled city, and a sea filled with boats alludes to the kingdom of Herod. The viewer’s eye is then drawn to the right, following the curving line of figures to the middle arch. A large city is rendered on top of a hill, which would have been recognized as Jerusalem (Khan Academy). The transition to the third arch is not continuous or directed by movement, but is abrupt; this could be due to a space issue—for the panel is packed with figures and scenery—or could be intentional, although for an unknown reason. The interruption of visual movement halts the narrative, and instead of drawing the viewer towards the procession through Bethlehem, they are lead towards the main section of the altarpiece. The center exhibits the procession up close, providing a lot of detail and symbolism. This section shows the magi offering gifts to the baby Jesus and kneeling in worship, but the scene is not rendered in a traditional manner. First, not all figures are historic/religious and most characters are adorned in contemporary fashion. Their clothing’s textile patterns and their exotic animal companions highlight their foreign nature, conveying their journey from the East. The Renaissance-styled garments connect the story to the current era, commenting on the birth’s everlasting relevance. Nevertheless, this disconnect of past and present is essential, because it not only denotes pertinence, but displays the great distance the kings have traveled to show respect and allegiance—a message to viewers on the extent of their religious fervor and dedication. Additionally, their elaborate entourage and garments separate them from the holy figures. Mary, Joseph, and baby Jesus’ only ornate adornments are the golden halos above their heads, implying that their wealth is predominantly found within their spirit, though they are also worthy of earthly possessions. Strozzi largely used the commission as a display of great piety, but also wanted other messages included. Strozzi is depicted within the painting as one of the magi’s courtiers (behind the third magi and holding a falcon), “reminding viewers of [his] diplomatic credentials” (Khan Academy), as well as his devoutness and involvement with the church. The bird in his hand represents his family, because in Tuscan strozzieri translates into falconer. The Strozzi family crest is also represented on the bridle of the right-most, white horse, which is decorated by a golden, crescent moon (Khan Academy). Lastly, the hound found in the lower right corner associates Strozzi with loyalty and dependability. Botticelli’s version of the Adoration of the Magi is much different than Gentile’s in several ways, many of which are due to technical and stylistic advancements in Renaissance art. First, Botticelli worked with a new kind of paint—oil paint—that could be layered, did not dry as quickly, and had a greater transparency. Oil paint allowed him to work with brighter, more saturated colors and in a more three-dimensional manner than Gentile, who had to rely on gold leaf to accentuate his colors and brighten his image. Second, Botticelli’s painting is a monoscenic narrative, which is a style that relies on aerial and linear perspective, realism, and one unified scene with references to the past and future to tell a story (Oxford University Press and the National Gallery of Art). Monoscenic narrative ended the use of predella panels as spaces for allusions to different parts of one or more stories (as can be seen in Gentile’s piece). These additional scenes were replaced with symbolic images in the background or as smaller details within the main scene. “...By consolidating distinct episodes within a single, unified composition, [Botticelli] creates a sense of narrative flow that deepens [the viewer’s] perception of the central scene” (Oxford University Press and the National Gallery of Art), while also providing a less crowded and confusing composition. Botticelli uses his figures’ positions to denote movement instead of repetition; his characters face in different directions, with varying expressions and gestures demonstrated by arm, leg, and head placement, drawing the eye from figure to figure and left to right.
Unlike Gentile’s version, Botticelli emphasizes the religious connotations more and paints less elaborately, while also placing contemporary aspects within the ancient scene and commenting on relevancy. Botticelli places Mary, Joseph, and baby Jesus in the center of the composition, making them the focus of the piece. Gentile’s use of gold and his lightly colored magi in the panel’s center takes away from the viewer’s focus on the religious figures. Similarly, Botticelli separates the holy figures from the contemporary ones through their clothing, but also through placement. Mary and Joseph are clad in traditional, ancient clothing, whereas all other figures are dressed in fine cloth fixed in contemporary styles. More importantly, the holy family is raised above all other figures, emphasizing their status. However, the religious characters are depicted as normal, real humans without halos; they are shown as being “divine...yet accessible, holy and yet human” (Cummings). The Adoration of the Magi was commissioned by Guaspare di Zanobi Del Lama for his chapel on the inner façade Santa Maria Novella dedicated to the Magi, with help from the bankers’ guild. The commissioners were supporters of the Medici family, which heavily influenced its content. Del Lama requested that the Medici family be depicted within the painting, making it not only a religious piece, but a political one (Capretti). The Medici family is portrayed around the holy family, with Cosimo displayed as the eldest, most distinguished Magi, Lorenzo placed on his left, and other family members visible within the crowd. This choice conveys the Medici’s great political power and prestige. Humanist figures, such as Angelo Poliziano and Giovanni Pico della Mirandola, are also recognizable in the group, as well as del Lama. Unlike Gentile, who provided neither a recognizable portrait or signature, Botticelli painted himself on the far right (dressed in yellow), recording the story of who created the image and what he may have looked like (Adams, 231). In conclusion, Gentile and Botticelli depicted the same Biblical story with political overtones, but emphasized different characteristics and used different techniques. Gentile focused on grandeur and detail, using gold leaf to create luminosity, symbols for story details, and repetition for movement. Botticelli, however, focused on realism and the importance of both the religious and political figures, utilizing character positioning for movement, the capabilities of oil paint for rendering, and symbolism for important story elements. Both artists carry on the ancient tradition of storytelling, each displaying an understandable narrative successfully, though in strikingly distinct ways. Works Cited Adams, Laurie Schneider. Italian Renaissance Art (Second Edition). Boulder: Westview Press, 2014. Print. Capretti, Elena. “‘Adoration of the Magi’, by Sandro Botticelli.” Mediateca di Palazzo Medici Riccardi. Provincia di Firenze, 20 March 2009. Web. Cummings, Erica. “Adoration of the Magi by Botticelli: Analysis & Overview.” Study.com. Web. Hollingsworth, Mary. Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century. Thistle Publishing, 2014. Print. Hope, Charles. “Religious Narrative in Renaissance Art.” Journal of the Royal Society of Arts 134.5364 (1986): 804-18. Web. Khan Academy. “Gentile da Fabriano, Adoration of the Magi.” Khan Academy. Web. Oxford University Press and the National Gallery of Art. “Continuous Narrative: Pictorial Déjà Vu.” Oxford University Press and the National Gallery of Art. Web. Oxford University Press and the National Gallery of Art. “Monoscenic Narratives: The Unification of Pictorial Space.” Oxford University Press and the National Gallery of Art. Web. The J. Paul Getty Museum. “Gentile da Fabriano.” The J. Paul Getty Museum. Web.
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Beginning in the 14th century, European civilization began to return to their cultural heritage, reviving the ideals and art style of classical antiquity (Greco-Roman civilization; 8th century B.C.E. – 5th century C.E.). The movement began in Italy, with the recovery of Roman and Greek art and literature; the ancient works inspired realistic, white marble sculptures, narratives full of dynamic movement and action, and the acceptable inclusion of pagan mythology in art. However, it has been argued that while Italy was the epicenter of the Renaissance, it really began with Frederick II (early-mid 13th century), who was a patron of the arts and sciences, promoted literature, and was said by some to rule with rationality and tolerance. The Renaissance (Italian for rebirth; coined in the mid-19 th century by historians) was greatly influenced by technological advances and not only affected art, but also politics, religion, philosophy, and science. The printing press, linear perspective, scientific method, gunpowder, musket, Ptolemaic system of astrology, and mariner’s compass were invented during this time period, expanding both the world and people’s understanding of it.
Several differences separate the Renaissance from the Middle Ages. During the Middle Ages, people focused on icons and teaching lessons through visual narration. Medieval art revolved around religion, as does most of Renaissance art, but sought to familiarize its viewers with Christian stories and values without utilizing words (i.e. “The Flight into Egypt”, St. Lazare Cathedral). The main characters in these narratives were also depicted in distinguishable ways, making the stories easy to follow and understand. Due to Medieval art’s overall simplicity, it has been believed that people of this era were less intelligent, but this is not true. These two sections of time had different priorities, which drastically affected their art styles. Literacy rates increased during the Renaissance because of the increased accessibility of books, encouraging more complex stories and symbolism (i.e. “The Birth of Venus”). The Renaissance focused instead on individualism, later referred to as humanism, and dramatic realism. Humanism (which also originated in Italy) fixated on aspects of human nature, syncretism, the dignity of man, and the human spirit. Additionally, Renaissance art featured realistic images and artists began creating based on the combination of observation and mathematics. People also developed a heightened interest in nature, dynamic postures were used in images, and Greco- Roman mythology was reintroduced for both dramatic and symbolic purposes. The High Renaissance began in the late 15 th century and is described by some historians as the perfection of Classical art. Leonardo de Vinci, Michelangelo, and Raphael worked during this time, creating masterpieces like “the Sistine Chapel”, “Pieta”, “David”, and “the Mona Lisa”. The Renaissance ended with the development of Mannerism, the deteriorating relationship between the church and government, and the fall of Rome in the mid-16 th century. Essay originally written on: 14 July 2016 High Renaissance artists expanded upon the foundation of Early Renaissance art, creating more realistic figures and backgrounds than their predecessors, while also addressing spiritual matters, adhering to classical ideals, and alluding to their pagan heritage. While most Early Renaissance art was focused on Christian images of biblical stories, saints, and evocations to meditation and worship, High Renaissance art focused more on appreciating beauty, recounting mythological stories, and displaying dynamic movement. Sixteenth-century artists began to show more emotion in their characters, more complicated movement in their figure’s postures, and added an element of eroticism that had been missing in the Medieval era. As artists, patrons, and scholars gained interest in Greek and Roman antiquity, texts and artwork from the ancients were increasingly sought after and circulated. Subjects and iconography from the Greco-Roman era gained popularity in the High Renaissance, merging the Christian God, biblical values, pagan gods, and ancient principles into one complex image. Decorating private and public rooms with classical-themed work was not considered sacrilegious, but a symbol of education; poems and narratives depicting ancient mythology and history became part of a scholarly curriculum (OUP & NGA, “At Home with the Antique Gods”). Writings from Plato, Horace, Seneca, Ovid, Plotinus, and Hermes Trismegistus were heavily studied by the upper class, causing them to be influential on Renaissance society (Adams, 232-233). These texts changed the 16th century’s views on religion, philosophy, and contemporary academics, concluding that one, true theology existed and was threaded throughout all religions (Yates, 14-18 & 433-434 and Hanegraaff, 360). Some truth was thought to have existed in the Greco-Roman religion, so pagan characteristics displayed in art were acceptable in society, being viewed as behavioral models or as expressions of a family or group’s special virtues. Mythological allusions were also often paired with existing Christian symbolism (or they were given new associations), justifying their presence and creating allegories (OUP & NGA, “At Home with the Antique Gods”). Some mythological figures were more readily used by artists, such as Hercules, Minerva, Venus, Jupiter, Mercury, Neptune, and especially Bacchus, to convey a message. Bacchus, typically displayed as a lithe, young man, could also take the form of a baby. Whereas the more mature Bacchus symbolized earthly delights and the Eucharist, his infant counterpart referenced the Nativity and suggested “that wine may bring the kind of inspired revelation that leads to an understanding of the Christian mysteries” (OUP & NGA, “At Home with the Antique Gods” and Earls, 32). The god of wine’s image was reproduced on childbirth trays, in marble statues, and in several paintings. Giovanni Bellini’s the Feast of the Gods (1514) and Titian’s Meeting of Bacchus and Ariadne (1522-1523) are two instances of his portrayal in Renaissance art. Both paintings were commissioned by the same patron, derived from Ovid, intended for private audiences, and were “history paintings”. This genre of artwork (also called poesia) consisted of mythological narratives based off of classical texts and differed greatly from the public, religious narratives displayed in churches (Encyclopedia of Art Education). Bellini’s oil painting was a mythological scene commissioned by Duke Alfonso d’Este for his personal study, the Alabaster Chamber. Even though pagan “iconology was well established in much of Italy, it was still rare in Venice” (Adams, 289) and an uncommon subject for Bellini. The scene is derived from Ovid’s classical poem, the Feasts, which recounts the origin stories for several Roman festivals and rites. Bellini seems to have focused on a particular section about a banquet given by Bacchus, where Priapus (god of virility & vineyards; identifiable by the scythe and vineyards above him) was embarrassed in front of Bacchus’ crowd. The nymph Lotis (sleeping at the far right) was eased to sleep by wine, but Priapus lusted for her and planned to take advantage of the situation. However, he was thwarted by a donkey (to the left), who "with raucous braying, gave out an ill-timed roar. Awakened, the startled nymph pushed Priapus away, and the god was laughed at by all." This portion explains why Priapus demands the annual sacrifice of a donkey (National Gallery of Art). Much like religious paintings of the time—which required fairly extensive knowledge on saints, religious legends, and texts—mythological paintings required familiarity with ancient texts, icons, and traditions to fully understand them. Figures can be distinguished by their appearance and items they wear or carry. To the far left stands Silenus, a follower of Bacchus. The woodland deity is recognizable by his donkey (who carries firewood for him), by the barrel of wine strapped to his belt, and his nearness to Bacchus. Bacchus, the child decanting wine, is identifiable by the wreath of vine leaves on his head (National Gallery of Art). Ancient imagery used Bacchus’ age to denote the seasons, with his infancy denoting winter, “like the earth before the growth brought by spring and summer” (OUP & NGA, “At Home with the Antique Gods”); this representation may be the reason for Bacchus’ youthful appearance, for it is an allusion to the patron’s winter marriage. Next to Bacchus sits the old forest god Silvanus wearing his wreath of pine needles and Mercury, the messenger of the gods, carrying his caduceus. Jupiter, king of the gods, is farther right and recognizable by his accompanying eagle. Persephone sits below him, holding a quince (which alludes to marriage), and the satyr Pan sits behind her, playing on his lute. Neptune, the god of the sea, touches Persephone suggestively and is identifiable by his nearby trident. Ceres, the grain goddess to his right, is denoted by her wheat wreath. Apollo, god of the sun and arts, holds a lira de braccio (Renaissance instrument) under Priapus. The group of deities are waited upon by three naiads (nymphs of streams/brooks) and two satyrs (National Gallery of Art). The Feast of the God’s was commissioned to entertain guests, display intellect, and symbolize Alfonso’s power as a patron, so it is no surprise that it may contain other, more cryptic references. For example, the quince, kingfisher, Bacchus’ youth, scene of celebration, and story about Priapus could allude to Alfonso’s marriage to Lucrezia Borgia. The kingfisher symbolizes the halcyon days, or the period of calm weather that occurs near the winter solstice. The ancient festival dedicated to Priapus occurred each winter, where a donkey was slaughtered as a sacrifice. These images by themselves build a narrative and its setting, but as a collection they are significant because Alfonso and Lucrezia’s marriage took place in December (OUP & NGA, “A Patron at Work”). As for Christian symbolism, the satyrs and Priapus are warnings against lust, reminding the couple to remain faithful throughout their marriage. As the Feast of the Gods was Bellini’s last painting, other artists were asked to make edits by the Duke. The painting was not left unfinished by the artist, but Alfonso began to become dissatisfied with it as his study changed, wanting it to match his other pieces of art. Dosso Dossi, the court artist of Ferrara, is thought to have been the first to make alterations to the painting, due to X-ray and infrared studies (National Gallery of Art). Dossi was considered an amateur painter, but was likely asked to make changes to match the other decorations and bacchanals in the study. The painting’s original composition was made up of a continuous screen of trees in the background; this was replaced by a hill topped with classical buildings (to relate to Alfonso’s fondness for antiquity). Dosso also added bright green foliage to the right of the foreground and a pheasant sitting on an upper branch. Although the detail is thought to be a bit eccentric, its remaining presence could be a reference to Dosso’s work on the image or to Alfonso’s preference for pheasant meat (OUP & NGA, “A Patron at Work”). Titian, who had worked under Bellini, is the second artist believed to have altered Bellini’s painting. He repainted most of the background, changing the sky to an ultramarine color and adding a mountain with sharp cliffs. Additionally, he painted over many of Dosso’s alterations. Titian’s freer painting style of broad strokes and thicker paint application differed greatly from Bellini’s delicate, more meticulous painting, causing the background to contrast notably with the foreground (National Gallery of Art). Titian’s Meeting of Bacchus and Ariadne was also commissioned by Alfonso d’Este to compliment Bellini’s piece in his study. Based on another section of Ovid’s poem, the scene depicts Bacchus falling in love with Ariadne at first glance. According to the texts, Ariadne had saved Theseus from the Minotaur’s labyrinth on Crete, but was soon abandoned by her lover on the island Naxos (Adams, 368). His ship can be seen sailing away on the far left of the image. Her mourning is interrupted by Bacchus’ arrival, who leaps from his chariot, declares his love, promises to be a more faithful lover than Theseus, and offers her a constellation of stars (Encyclopedia of Art Education). As the brightest figures in the composition, Ariadne and Bacchus are the focal points. Their swirling, rich garments and dynamic gesture adds to the narrative’s drama, filling the image with movement and color. The Northern Crown (identifying the underlying figure as Ariadne) can be seen in the deep blue sky to the left. Bacchus is portrayed in a chariot pulled by a pair of cheetahs (a typical display in ancient sculpture), donning a wreath of grapevine leaves, and clearly in an inebriated state by his flailing limbs, somewhat glazed expression, and inelegant posture (Allegretto, 21-23). Their future erotic encounter is alluded to by the pair of cheetahs and the collection of red pigments. The viewer’s eyes are led towards his entourage by his pointing arms, where his passionate, writhing group of satyrs, cymbal and tambourine players follows. An obese version of Silenus can be seen towards the back of the crowd, asleep on his donkey. Individuals within the crowd pull a steer’s head with a rope and wave a haunch, referring to a similar scene within Ovid’s poem Metamorphosis. A large, bearded figure wrapped in serpents not only alludes to the poem’s description, but also the Hellenistic statue Laoconӧ , which had been recently excavated and could have been seen by Titian in Rome (Adams, 368).
Titian paints in high contrast, with bright colors intermingled in darks, but also separates the painting into two sections: the left is tamer and elegant, while the right is crowded and animalistic. This separation symbolizes a moral and immoral life. The left side contains the pair —who will eventually fall in love—cheetahs, and a small dog—a symbol of loyalty— collectively referring to marital fidelity. The right side is darker in color, more erotic, and disorganized, warning of the immorality associated with drunkenness, as well as the loss of humanity. The Feast of the Gods and the Meeting of Bacchus and Ariadne are very similar in appearance and content because Titian worked on both images (Bellini was also his master), they were based on poems by the same author, and were commissioned by the same patron for the same room. Many patrons ordered images from artists like Bellini and Titian to influence their image and Alfonso’s reasons were no different. They were intended to entertain and impress guests with their many allusions and detailed nature, perhaps to act as a conversation piece similar to mannerist paintings of the future. It is fairly well-known that both Alfonso and Lucrezia were unfaithful to each other, so the pieces of art could have also been used to combat rumors of infidelity, and state that they were in love like Bacchus and Ariadne and loyal, as morality demanded. However, these elaborate and complicated compositions displayed a narrative that only a specific audience could understand, one that relied heavily on scholarly/classical knowledge, emphasized drama, and displayed classical stories in a new, pagan/Christian manner. Works Cited Adams, Laurie Schneider. Italian Renaissance Art (Second Edition). Boulder: Westview Press, 2014. Print. Allegretto, Kari A. “The Ancient Cupid and Bacchus in Renaissance Art.” Lycoming College, 2011. Web. Earls, Irene. Renaissance Art: A Topical Dictionary. ABC-CLIO, 1987. Print. Encyclopedia of Art Education. “Bacchus and Ariadne (1520-23).” Encyclopedia of Art Education. Web. Hanegraaff, Wouter J. New Age Religion and Western Culture. SUNY: 1998. Print. National Gallery of the Arts. “The Feast of the Gods.” National Gallery of Art. Web. Oxford University Press and the National Gallery of Art (OUP & NGA). “At Home with the Antique Gods.” Oxford University Press and the National Gallery of Art. Web. Oxford University Press and the National Gallery of Art (OUP & NGA). “A Patron at Work: The Feast of the Gods.” Oxford University Press and the National Gallery of Art. Web. Yates, Frances A. Giordano Bruno and the Hermetic Tradition. University of Chicago Press, 1964. Print.
Learning to Lucid Dream
Here are a few activities you can try on your own or with a partner to increase your likelihood of dreaming lucidly: 1. Keep a dream diary : writing down your dreams as soon as you wake up is an effective way to increase your dream recall ability and familiarize yourself with dream characteristics. The average person has 3-5 dreams a night, but can only recall a few a week. Writing or discussing dreams with another daily can increase the number of dreams remembered each day or week; in addition, becoming familiar with your dreams can help you realize that you are in one. Getting more sleep is also helpful, because it increases your time spent in REM (where vivid/lucid dreams occur); waking up during REM is the most effective way to remember a dream (distinguishable by moving eyes; repeats approx. every 90 mins. after you fall asleep). 2. Use physical cues : picking a “wake-up” signal and utilizing it frequently can cue lucidity. For example, having a friend flash a light in your face three times while you are sleeping or playing a specific sound can trigger your memory and cause lucidity. This tactic is more successful when the dreamer thinks about the cue, or that he/she will be dreaming soon, right before and while falling asleep. Purchasing a light-based alarm clock (i.e. the “DreamLight”) or using headphones with a repeated sound is a method to train individually. NOTE: you do not want to wake yourself up, only provide a stimulus to the senses (sight, sound, or touch work best) (sky valley chronicle) 3. Reality Checks : Frequently asking yourself “Is this a dream?” throughout the day can get you into the habit of questioning reality- even while sleeping. Devising a way to test reality, such as holding up exactly 3 fingers (any type of math becomes misfigured in dreams), can help you make a reality check (think of “inception”). 4. Other, less successful options : -add vitamin B to your diet -play videogames 1-3 hours a day -listen to binaural beats when going to sleep (headphones only) For more information visit/read: -Psychology Today -The Lucidity Institute -“Lucid Dreaming- Dreams of Clarity,” by Brigette Holzinger Works Cited Bourke, Patrick, and Hannah Shaw. “Spontaneous Lucid Dreaming Frequency and Insight.” Dreaming 24.2 (2014): 152-9. Print. "Gestalt therapy". Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2015. Web. 18 Jul. 2015 Holzinger, Brigitte. “Lucid Dreaming- Dreams of Clarity.” Contemporary Hypnosis 26.4 (2009): 216-24. Print. Holzinger, “Studies With Lucid Dreaming as Add-On Therapy to Gestalt therapy.” ACTA Neurologica Scandinavica 131 (2015): 355-63. Print. Hunter, Philip. “To Sleep, Perchance to Live. Sleeping is Vital for Health, cognitive function, memory and long life.” EMBO Reports 9.11 (2008): 1070-3. Print. Payne, Jessica D. “The (Gamma) Power to Control Our Dreams” Nature Neuroscience 17.6 (2014): 753-6. Print. Spoormaker, Victor I. “Lucid Dreaming Treatment for Nightmares: A Series of Cases.” Dreaming 13.3 (2003): 181-6. Print. Spoormaker, Victor I. “Lucid Dreaming Treatment for Nightmares: A Pilot Study.” Psychotherapy and Psychosomatics 75.6 (2006): 389-94. Print. Voss, Ursula. “Introduction of Self-Awareness in Dreams Through Frontal Low Current Stimulation of Gamma Activity.” Nature Neuroscience 17.6 (2014): 810-12. Print. Voss, Ursula. “Lucid Dreaming: an Age-Dependent Brain Dissociation.” Journal of Sleep Research 21.6 (2012): 634-42. Print. |
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