oil on canvas, 135 cm x 200 cm, 2014
The painting Guardians of the Temple has been exhibited in various galleries and mentioned in the media multiple times.
Dragons are powerful creatures that are the subject of many legends and fairy tales. Dragons from higher worlds are full of wisdom, power and love and are often associated with the element of earth. They anchor and protect the powerful wisdom of the earth. The guardians of the temple who raise you to higher consciousness are dragons from higher worlds and their task is to protect the portal to higher consciousness.
Although I did a lot of planning, in the end I decided on the composition very spontaneously. Above the painting *Guardians of the Temple Rise to Higher Consciousness* I inserted a compositional grid. The elements of the painting fit wonderfully into this grid, so you could assume that I orientated myself on this grid when placing them.
However, this is not the case, as I used two dragons made of polymer clay and a cardboard structure as a reference. I built the whole scene by placing the figures in different positions and photographing them. I chose the best positioning and used it as a reference. The light is directed into the shadow with reflected light. The one-point perspective on the mosaic floor is very striking. A recurring compositional element is the curve organised in different repetitions of the rhythm (starry background, wings, tail, body line, circles). In nature, we observe such repetitions with variations.
In addition to perspective, overlapping is also a powerful spatial device. The golden dragon overlaps the white one, the white one overlaps the portal and the portal overlaps the background. The compositional structure consists of three counterpoints, units or types of forms.
The two dragons, which have an organic form, are inserted into an inorganic architectural environment. Together they float in a universe that also consists of organic forms, but of a different kind than the dragons.
Our eye has two strong tendencies: The first is to focus on the centre of the image or an anomaly near the centre.
The second tendency is to lift our gaze. When we see this image for the first time, our attention is drawn to the centre, where the two wings are located. From there, the gaze turns to the left and focuses on the face of the white dragon. This is where the brightest light shines on the dragon from behind. The brightest point becomes a strong dominant in the composition.
Our gaze then turns to the head of the other dragon, which has a strong colour contrast. However, it does not have the same attraction as the light contrast. Although the golden dragon is taller and darker, it does not dominate over the white dragon due to the light values.
The image is set in a large, luminous area in a minor key. The depth control is a soft chiaroscuro that gives the figures a sense of plasticity. The surroundings follow the aerial perspective and the pillars in the background have softer contrasts.
The gestural curves flow organically through the composition and lend it energy and vitality.
The entire colour scheme is triadic. The colours that make it up are blue, violet and yellow.
They are saturated and rich in contrast.
They are balanced by the grey tones and lighter, less saturated colours of the platforms, the architectural elements and the White Dragon.
"When I look at this painting, I feel connected to something bigger than myself. It is like a glimpse into another world where beauty and mystery are interwoven. I am fascinated by the way Nik Anikis has captured the feeling of human greatness and at the same time our smallness in this vast universe."
Dejan B.
"This painting takes me to a reflection on our role in this world, where it seems that we are both small and large, gifted with life, love and responsibility towards ourselves, others and the world. I feel how important it is to find our place, our purpose and our mission in this infinite universe. We have the power to shape not only our lives, but also the world we live in."
Anja P.
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