The Minotaur, a mythical creature from Greek mythology, has been a subject of fascination for artists throughout history. Symbolism of the Minotaur is often depicted as a chaotic representation of the void between instinct and reason. As well as the destructive consequences of uncontrolled desires and the clash between civilisation and primal urges.
The symbolism associated with the Minotaur, particularly in the works of the British painter George Frederick Watts, is profound and multi-layered.
Throughout this blog, I will be referencing artwork from artist’s who have been influenced by this symbol.
The Duality of Nature
The Minotaur represents the duality of human nature. With the head of a bull and the body of a man, it symbolises the juxtaposition of our animalistic instincts and our rational human consciousness.
On one side, the bull represents raw, untamed energy, aggression, and the animalistic urges that reside within all of us desires for dominance, survival, and unrestrained power.
On the other hand, the human form evokes intellect, self-awareness, and reason, qualities that distinguish us from other creatures.
This stark contrast serves as a reminder of the perpetual struggle within each individual
In the myth, the Minotaur’s existence is a consequence of unchecked passion and impulsive actions — a result of the union between Pasiphae, the queen of Crete, and a sacred bull.
This story highlights the destructive consequences of indulging in base desires without thought for the moral or social order.
The creature’s confinement within the labyrinth further reflects how society attempts to control and repress these darker, more chaotic impulses, forcing them into a metaphorical prison. Yet, the Minotaur’s very existence within the labyrinth suggests that these primal forces cannot be entirely suppressed; they will eventually resurface, often in unpredictable and dangerous ways.
In Recent News
A fascinating archaeological discovery has emerged during construction work for a new airport in Crete.
A 4,000-year-old structure, believed to possibly be the legendary labyrinth of Minoan King Minos, was uncovered near the town of Kastelli, approximately 51 kilometres southeast of Heraklion, Crete’s capital, LiveScience reported last week.
The ancient site, perched atop a hill, features an intriguing architectural design typical of the Minoan civilisation and is thought to date back to around 2000-1700 B.C. Measuring 48 metres in diameter, the structure is divided into two primary sections: a central circular building and an outer area encircled by walls, arranged in a pattern resembling the spokes of a wheel.
Could the labyrinth of legend be real?
This fascinating documentary explores new archaeological evidence that may connect myth with history.
The design consists of eight stone rings interspersed with small walls, creating a labyrinth-like formation.
According to a statement from the Greek Culture Ministry, the recently uncovered structure near Kastelli is believed to have served as a venue for communal ritual feasts rather than as a residential space.
The discovery of animal bones and various other artefacts in the area supports the theory that it was a site for ceremonies involving food, wine, and offerings, shedding new light on the ceremonial practices of the Minoan civilisation.
The encounter between Theseus and the Minotaur is more than just a heroic battle; it is a confrontation between these two aspects of the self.
If you’re looking for something more directly narrative or myth-focused, Jorge Luis Borges wrote a brilliant short prose poem titled “The House of Asterion”.
Here’s a brief excerpt from The House of Asterion:
“I know they accuse me of arrogance, and perhaps of misanthropy, and perhaps of madness. Such accusations (for which I shall exact punishment in due time) are laughable.”
It retells the Minotaur myth from the Minotaur’s perspective, portraying him not as a monster but as a tragic, misunderstood figure longing for redemption. It’s philosophical, haunting, and deeply human.
This piece doesn’t follow the format of a traditional poem, but its language and structure make it feel poetic.
In this sense, the Minotaur is not just a beast to be slain but a reflection of the darker aspects of humanity that we must acknowledge and confront in order to achieve balance and self-mastery.
“Have you ever felt like the Minotaur — misunderstood, confined, and searching for meaning?”
Labyrinth of The Mind
The Labyrinth was a masterfully designed maze, commissioned by King Minos and created by the architect Daedalus.
In Greek mythology, the Minotaur was imprisoned within the labyrinth, a complex maze designed by Daedalus.
To escape after slaying the Minotaur, Theseus required a ball of thread, which the princess Ariadne provided. This is the most widely accepted version of the story, though deeper exploration reveals a range of contradictory versions.
Myths are constantly reinterpreted and retold, and the tale of the Labyrinth is no exception.
The labyrinth serves as a metaphor for the intricate and convoluted nature of the human mind. It represents the psychological and emotional complexities that we all grapple with, the maze of our thoughts, desires, fears, and inner conflicts.
It symbolises the journey of self-discovery, overcoming inner challenges, and transforming into a more evolved and integrated individual.
Symbolic Isolation and Alienation
The Minotaur’s existence within the labyrinth also represents isolation and alienation. It serves as a metaphor for individuals who feel trapped by their own inner struggles, disconnected from society, and unable to find acceptance.
The Minotaur’s confinement in the labyrinth reflects the sense of being an outsider or an outcast.
George Frederick Watts, a prominent artist of the 19th century, explored these symbolic themes in his paintings featuring the Minotaur.
His depictions often portrayed the creature in a contemplative and introspective manner, emphasising the psychological and emotional dimensions of the Minotaur’s symbolism.
George Frederic Watts1885
By utilising the Minotaur as a symbol, Watts delved into the complexities of human nature, the struggle between light and darkness within ourselves, and the transformative power of self-awareness and acceptance.
His art invites viewers to confront their own inner Minotaurs, embracing the journey of self-discovery and seeking harmony between their conflicting aspects.
The symbolism surrounding the Minotaur in George Frederick Watts’ works resonates with universal themes of human existence, making it a subject of enduring fascination and contemplation.
“The Minotaur’s confinement in the labyrinth reflects the sense of being an outsider or an outcast.”
Symbolism of The Minotaur Dalí Picasso
The Minotaur has captivated modern artists, particularly Pablo Picasso and Salvador Dalí, who used this mythological creature to explore profound themes in their work.
These two pioneers of modern art reinterpreted the Minotaur to convey deeply personal and universal struggles, blending mythology, art, and symbols into powerful expressions.
Picasso’s recurring use of the Minotaur motif reflects his fascination with the duality of human nature and the beast within. For Picasso, the Minotaur symbolised masculinity, power, and inner turmoil.
In his etching Minotauromachia (1935), he presents the creature as both violent and vulnerable, blending scenes of brutality with moments of introspection.
Minotauromachy (1935) by Pablo Picasso
These work explores the Minotaur as a representation of Picasso himself, torn between his animalistic instincts and creative intellect.
The combination of mythology and symbolism in his art illustrates the tension between civilisation and primal desire, making the Minotaur a powerful allegory for the human condition.
The Minotaur in Salvador Dalí’s Subconscious
Dalí approached the Minotaur from a surrealist perspective, using it as a symbol of subconscious fears and desires.
In The Minotaur (1936), Dalí portrays the creature in dreamlike settings that evoke existential dread and vulnerability.
For Dalí, the Minotaur was not just a beast, it was a mirror of human vulnerability, a figure trapped within its own labyrinth of psychological complexities. Note the delicate lines folding across the face and obscure direction of the figure.
The mass of shapes convulsing at the base of the painting, weighted on the bottom left.
Through Dalí’s lens, the Minotaur becomes a powerful art symbol of the human psyche’s depths. His surreal interpretations highlight the labyrinth not as a physical prison, but as a representation of the mind’s intricacies and the endless search for meaning
