To make it simpler, the bones and the skull symbolize the death, burial and resurrection of the lamb, which is called “Christ”.
If one will reexamine De la Rosa’s work, one can see in it the symbols of the said ancient mystery of Christ.
That De la Rosa would tackle this theme is not a surprise: her father, also a renowned painter, is a student of the Occult – a subject which, its students say, can help us to understand more of ourselves and can be a reminder that everything and everybody will fade or pass away
But de la Rosa’s crossbones and the skull can also mean death to the said enemies of faith. It serves as warning to those who wants to go astray to repent and to go back to the basic tenets of the faith taught by the Teacher, Christ.
Death
The picture that the young De la Rosa painted also fits the meditation of Carl Jung, a famous psychoanalyst, on death:
I have often been asked what I believe about death, that unproblematical ending of individual existence.
Death is known to us simply as the end. It is the period, often placed before the close of the sentence and followed only by memories of aftereffects in others.
For the person concerned, however, the sand has run out of the glass; the rolling stone has come to rest. When death confronts us, life always seems like a downward flow or like a clock that has been wound up and whose eventual “running down” is taken for granted.
We are never more convinced of this “running down” than when a human life comes to its end before our eyes, and the question of the meaning and worth of life never becomes more urgent or more agonizing than when we see the final breath leave a body which a moment before was living. How different does the meaning of life seem to us when we see a young person striving for distant goals and shaping the future, and compare this with an incurable invalid, or with an old man who is sinking reluctantly and without strength to resist into the grave!
Youth — we should like to think — has purpose, future, meaning, and value, whereas the coming to an end is only a meaningless cessation.
If a young man is afraid of the world, of life and the future, then everyone finds it regrettable, senseless, neurotic; he is considered a cowardly shirker. But when an aging person secretly shudders and is even mortally afraid at the thought that his reasonable expectation of life now amounts to only so many years, then we are painfully reminded of certain feelings within our own breast; we look away and turn the conversation to some other topic.
The optimism with which we judge the young man fails us here.
Naturally we have on hand for every eventuality one or two suitable banalities about life which we occasionally hand out to the other fellow, such as “everyone must die sometime,” “one doesn’t live forever,” etc. But when one is alone and it is night and so dark and still that one hears nothing and sees nothing but the thoughts which add and subtract the years, and the long row of disagreeable facts which remorselessly indicate how far the hand of the clock has moved forward, and the slow, irresistible approach of the wall of darkness which will eventually engulf everything you love, possess, wish, strive, and hope for — then all our profundities about life slink off to some undiscoverable hiding place, and fear envelops the sleepless one like a smothering blanket.
With this, De la Rosa’s Hordes of Charlatan can be a monument, a constant reminder that we must always reexamine our conscience, the truth or what we believe to be the truth, and the life we are living. For it is hard to when you are in your deathbed and no one can hear your agony, your pain, except your self – which is about to vanish from the face of the earth. (Bulatlat.com)








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