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About Traditional Art / Professional CorviidUnited States Recent Activity
Deviant for 9 Years
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That the form of Abraxas would be ever-changing makes sense given that it is meant to remain symbolic and not become rooted in the physical. I found parallels between Abraxas and Baphomet (the latter which I have also delved into illustrating). What Eliphas Levi has to say about Baphomet rings true in its own way with Abraxas:

“Baphomet is a knowledge rising in opposition to idolatry, protesting though the very monstrosity of the idol. The Israelites were forbidden to give divine concepts the figure of a man or of any animal; thus, on the ark of the covenant and in the sanctuary, they dared sculpt only cherubs, that is, sphinxes with the bodies of bulls and the heads of men, eagles or lions. These mixed figures reproduced neither the complete form of any man, nor that of any animal. These hybrid creations of impossible animals gave to understand that the image was not an idol or reproduction of a living thing, but rather a character or representation of something having its existence in thought. Baphomet is not worshipped; it is God who is worshipped, this faceless God behind this formless form, this image which resembles no created being. Baphomet is not a God; He is the sign of initiation.”

All of this gave me an ideal balance of inspiration to draw from yet freedom to invent while creating my own version. I did include the typical elements of the rooster head and snake-legs. There were differing accounts of Abraxas riding a crocodile, or a lion, or a lion atop a crocodile. I reconciled these by instead terminating the serpent legs in the head of a crocodile and a lion.

I wrote the name at the top in its Greek form, harkening back to the concept's roots, and using the common inscription found on Abraxas stones. Since Abraxas is placed near the top of the hierarchy of progenitors of our reality, I have associated it with the seven planets of classical antiquity (also a nod to the potential link between the seven letters of the name and the planets) and their signs as symbols of the heavens that are accessible to us, and as a nod toward the 364 other heavens were created betwixt the original authors and our reality. Elements of Greek architecture were used as well, such as the archway and corinthian columns.

As Abraxas is shown to sometimes hold a shield and sword, I integrated those into the form itself, and gave the arms the orb and the flail to hold. The wings contain alchemical symbols that are a novel combination of opposites (sun/moon, water/fire) to indicate that Abraxas is the embodiment of the coniunctio, or that which transcends and unites all opposites (as espoused by Carl Jung). The arms protrude and therefore point in opposite directions, in the 'as above, so below' tradition. The eye above emphasizes the concept of foresight and vigilance, also symbolized by the bird head.

Note: The Greek inscription of the name will translate as "Abrasax." This is intentional to reflect the original spelling inscribed on Abraxas stones, which was potentially mistranslated because of a confusion between the Sigma and Xi letters in the Latin transliteration.



Corviid's Profile Picture
Artist | Professional | Traditional Art
United States
Corviid began working as a self-taught artist in the Bay Area in 2006 after obtaining degrees in Philosophy and Ecology & Evolutionary Biology in Tucson, Arizona. If one had to sum up her artistic style, one might call it "Surreal Macabre." Her works contain elements of anatomy, natural history, the macabre, sacred and symbolic geometry, architecture and ornamentation. Because of a life-long interest and scholarly background in philosophy, every work is given a strong philosophical undertone. Through her art, she touches on issues of metaphysics, existentialism, death, mathematical archetypes, duality (the fact and the illusion), emotion, and our relationship as humans to other organisms, nature, and the universe. Similarly with a fascination and background in Ecology and Evolutionary Biology, her work is influenced by natural forms and scientific illustrative styles throughout history. She works in a wide variety of mediums; tending to move forward into uncharted territory, collecting mediums and techniques as she goes and combining them in novel ways in each new work.

In addition to fine art, Corviid creates original and unique designs for album covers, tattoos, clothing lines, and stage productions. She has a line of jewelry as well as couture costuming for dance performance artists. She is the Dance Director and Choreographer for two troupes: her own creation, Ego Umbra, which combines her own unique dance fusion of bellydance, contemporary, and hip-hop with metal music; and CoRE, a ritual suspension troupe. She is a soloist performer, dance teacher, and collaborator with many other dance and performance groups in a variety of styles. She is a classically trained musician with a diploma in piano performance, and she also does sculpture, photography and writing. During the summers she teaches illustration, painting and fashion design to kids and is currently working on program-wide curriculum development in these art courses. Her hobbies also include sleeping occasionally, though she is thinking of giving that up.



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Ellygator Featured By Owner Apr 10, 2017  Hobbyist General Artist
Amazing, unique and deeply evocative work! You are incredibly versatile!
Corviid Featured By Owner Apr 13, 2017  Professional Traditional Artist
Thank you very much!
Aerin-Kayne Featured By Owner Mar 9, 2017  Hobbyist General Artist
Beautiful work.
Corviid Featured By Owner Mar 14, 2017  Professional Traditional Artist
Thank you! I'm glad you commented, as I went over to check out your artwork and I'm an instant fan. Your illustrations are gorgeous and sense of composition is fantastic.
MateoGraph Featured By Owner Jan 19, 2017
Happy birthday
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