ABSTRACT
I DRAWING X HERE the dragon has fully emerged and the battle is already in progress. Again we see the dragon looming above, while the hero grapples with him from below. NoW estern artist could have depicted St. George in this inferior position. It would be possible for a Chinaman, perhaps, because the dragon in China is a natural denizen of the heavens. The two vast sun-wheel eyes of the dragon occupy the commanding central position of the drawing. The monster has no mouth. Evidently it has to rely upon the spell cast by its eyes and upon its spiny sucker-feet, for these are its only offensive equipment. The effect of these enormously exaggerated eyes is indescribable. They are immobile, utterly expressionless, and unwinking. They glare at one without seeing anything. They are flat, lifeless discs that offend nature's canon of proportion controlling the reasonable dimension of specific parts in relation to the whole. Moreover, the mandala· design is clearly a conscious artefact, superimposed upon their natural sunflower structure like a gigantic pair of spectacles. It will be observed that the mandala design employed in this drawing is simpler and more compact than the first attempt in the previous drawing. I t is more unified, inasmuch as there is only one circle, and the radial lines run from the centre to end at the circumference.
