In the Egyptian tongue, the term designating the hand was related to
that for the pillar (or a support, or strength) and for the palm (4). In esoteric
doctrine, the position of the hand in relation to the body, and the arrangement of
the fingers, convey certain precise symbolic notions (48). According to the Egyptian system of hieroglyphs, the hand signifies manifestation, action, donating and
husbandry. An eye in association with a hand—as for example in some oriental
mythic beings—symbolize ‘clairvoyant action’ (19). Schneider concedes a major
rôle to the hand ‘because it is the corporeal manifestation of the inner state of the
human being’ and because ‘it expresses an attitude of mind in terms other than the
acoustic’—or, in other words, a gesture. It follows, then, that the raised hand is
the symbol of the voice and of song; the hand placed on the breast indicates the
attitude of the sage; placed on the neck it denotes sacrifice; two hands joined
signifies mystic marriage—the Jungian individuation; the hand covering the eyes
represents clairvoyance at the moment of death (50). Of great importance is the
fact that the hand has five fingers, firstly, because of its broad analogy with the
human figure (composed of four extremities plus the head), and, secondly, by
reason of the symbolism of the number five (denoting love, health and humanity)
(40). In Egyptian hieroglyphics, the open hand signifies any specificially human
task as well as magnetic force (19)—an idea also characteristic of pre-Columbian
America. And a very similar belief lies behind the widespread use of the hand as
an amulet in Islamic cultures. According to Berber thought, the hand signifies
protection, authority, power and strength; the manus had the same meaning for
the Romans, symbolizing in particular the authority of the pater familias and of
the emperor, and is sometimes to be seen surmounting the signum of the legions
in place of the imperial eagle. In the Islamic amulets mentioned above, the figure
of the hand undergoes various modifications or appears in association with other
symbols, as, for instance, the star, the dove, the bird, the fan, the zigzag and the
circle, forming emblems comparable with those of the Christian West (12). The
familiar emblem of the ‘linked hands’ is expressive of a virile fraternity, or solidarity in the face of danger (49). In Jung’s opinion, the hand is endowed with a generative significance (31). The difference between the right hand and the left is
usually ignored, but when the distinction is made it appears merely to serve the
purpose of enriching the basic significance with the additional implications of
space-symbolism, the right side corresponding to the rational, the conscious, the
logical and the virile; the left side representing the converse (33). There are alchemic images which represent a King clasping in his own left hand the left hand
of the Queen. Jung suggests that this may refer to the unconscious character of
their union but that it may also be indicative either of affection or of suspicion
(33).

To dream of your hands, represent your relationships with those around you and how you connect with the world. Hands serve as a form of communication and can represent authority, hate, protection, justice, etc depending on the gesture. Perhaps you need to lend a helping hand to someone. In particular, the left hand symbolizes your graciousness and your feminine, receptive qualities, while the right hand symbolizes the masculine and active attributes. The right hand may also be a pun for some decision or something being "right". If you dream that your hands are detached or see disembodied hands, then it indicates that you are not getting your point of view across. You are not being understood. The dream may also symbolize feelings of loneliness.

To dream that you are holding hands with someone, represents love, affection and your connection with that person. Your dream may also reflect anxieties about losing touch with him/her or that you are drifting apart.

To dream that you hands are injured, denote an attack on your ego.

To dream that your hands are clasped or closed, signify unity, completeness, acceptance or agreement. On a more negative note, it may suggest that you are close-minded, ungiving or unwilling to help.

To dream that you have unusually large hands, denote success in achieving your goals.

To dream that your hands are hairy or rough, imply your lack of gentleness in dealing with others. You may be too brash and abrasive.

To see blood on your hands, signifies that you are experiencing some sort of guilt.

To dream that you are washing your hands, represent a worrisome issue that you need to work through. Alternatively, it suggests that you are in denial or no longer taking responsibility of some matter. You are letting go and getting things out of your system.

To dream that your hands are itchy, indicate issues with money. If the left hand is itchy, then it signifies money being received. If the right hand or both hands are itchy, then it signifies money being given or lost.

If you see beautiful hands in your dream, you will enjoy great distinction, and rise rapidly in your calling; but ugly and malformed hands point to disappointments and poverty. To see blood on them, denotes estrangement and unjust censure from members of your family.

If you have an injured hand, some person will succeed to what you are striving most to obtain.

To see a detached hand, indicates a solitary life, that is, people will fail to understand your views and feelings. To burn your hands, you will overreach the bounds of reason in your struggles for wealth and fame, and lose thereby.

To see your hands covered with hair, denotes that you will not become a solid and leading factor in your circle.

To see your hands enlarged, denotes a quick advancement in your affairs.
To see them smaller, the reverse is predicted.
To see your hands soiled, denotes that you will be envious and unjust to others.

To wash your hands, you will participate in some joyous festivity.

For a woman to admire her own hands, is proof that she will win and hold the sincere regard of the man she prizes above all others.

To admire the hands of others, she will be subjected to the whims of a jealous man. To have a man hold her hands, she will be enticed into illicit engagements. If she lets others kiss her hands, she will have gossips busy with her reputation. To handle fire without burning her hands, she will rise to high rank and commanding positions.

To dream that your hands are tied, denotes that you will be involved in difficulties. In loosening them, you will force others to submit to your dictations.

Dreaming of your hands, represents your relationship to those around you and how you connect with the world. Hands serve as a form of communication. Perhaps you need to lend out a helping hand to someone. In particular, the left hand symbolizes your graciousness and feminine, receptive qualities. And the right hand symbolizes masculine, active attributes. It may also be a pun for some decision or something being "right". Dreaming that you are holding hands with someone, represents your connection with that person. Your dream may also reflect anxieties about losing touch with him/her or that you are drifting apart. Dreaming that you hands are injured indicates an attack on your ego. Dreaming that your hands are clasped or closed means unity, completeness, acceptance or agreement. On a more negative note, it may suggest that you are close-minded, ungiving or unwilling to help. Dreaming that you have unusually large hands indicates much success in achieving your goals. Dreaming that your hands are hairy or rough, implies your lack of gentleness in dealing with others. You may be too brash and abrasive. Seeing blood on your hands means that you are experiencing some sort of guilt. Dreaming that you are washing your hands, represents a worrisome issue that you need to work through. Alternatively, it suggests that you are no longer taking responsibilities in some matter. You are letting go and getting things out of your system.

To dream that you are climbing a hill, signifies your struggles in achieving a goal. You need to focus your energies on the prize. To dream that you are standing on top of a hill, suggests that you have succeeded in your endeavors. You have the necessary resources to complete the task at hand.

Dreaming that you are climbing a hill means your struggles in achieving a goal. Dreaming that you are standing on top of a hill means that you have succeeded in your endeavors or that you have now have the resources to complete a task at hand.

To dream that you are lost, suggests that you have lost your direction in life or that you have lost sight of your goals. You may be feeling worried and insecure about the path you are taking in life. If you try to call for help, then it means that you are trying to reach out for support. You are looking for someone to lean on. Alternatively, being lost means that you are still adjusting to a new situation in which the rules and conditions are ever changing.

To dream that someone else is lost, represents some unresolved issues or feelings pertaining to the person that is lost. Consider what aspect of that person you may have lost within your own self. Perhaps you need to recapture and re-acknowledge those aspects.

Dreaming that you are lost, suggests that you have lost your direction in life or that you have lost sight of your goals. You may be feeling worried and insecure about the path you are taking in life. Alternatively, you may be trying to adjust and get accustomed to a new situation in which the rules and conditions are ever changing. Dreaming that someone else is lost, represents unresolved issues or feelings regarding the person that is lost. Consider also what aspect of that person you may have lost within your own self. Perhaps you need to recapture and re-acknowledge those aspects.

Logically speaking it may be deduced that the countryside—
landscapes of all kinds—is the mundane manifestation of a dynamic complex
which in origin was non-spatial. Inner forces are liberated to unfold as forms
which disclose in themselves the qualitative and quantitative order of their inner
tensions. Thus a mountain crest becomes a graphic sign. Let us take, by way of
illustration, landscapes as they appear in dreams. Leaving aside the phenomenon
of memory, reminiscence, or the complex association of various sense-data, the
scenes and towns which figure in dreams are neither arbitrary and indeterminate
nor objective: they are symbolic—that is, they well up in order to illuminate
certain momentary experiences called forth by varying combinations of influences in varying degrees of intensity. Landscape-scenes arising in the imagination
in this way are sustained solely by the validity, duration and intensity of the
feelings which aroused them. Form—just as in physical morphology—is the
diagram of force. Now, what we have said about landscapes in dreams can be
applied also to an actual landscape, seen and selected by an automatic response of
the unconscious, which detects in it an affinity that gives us pause and makes us
return to it again and again. This, then, is a question not of a projection of the mind
but of an analogy whereby the landscape is adopted by the spirit in consequence
of the inner bond linking the character of the scene with the spirit of the observer
himself. Subjectivism concerns only the act of choosing. The intellection of the
significance of a landscape is, then, wholly objective, as is the grasping of the
symbolic values of colours and numbers. The Chinese saw this with the utmost
clarity: as Luc Benoist has observed, Chinese art has always placed more emphasis upon landscape than upon man (as a figure, that is to say), and upon the
macrocosm rather than the microcosm. ‘If the superior man loves the countryside,’ to quote the words of Kuo Hsi, ‘why is this so? Hills and gardens will
always be the haunts of him who seeks to cultivate his original nature; fountains
and rocks are a constant joy to him who wanders whistling among them. . .’ (6).
It is a well-established tradition of symbology that the different worlds (or zones)
are strictly only different states of being. Hence the fact that the ‘chosen site’ is
the enshrining image which arises out of it. The ‘trysting place’, when it truly
possesses that character, and is not merely arbitrary or fortuitous, signifies a
meeting or ‘conjoining’ in precisely this same sense—that is, transposed into topographical or spatial terms (26). However revolutionary these assertions may
seem, they are nevertheless confirmed by the findings of the psychology of form
and by isomorphism, since it has been shown that it is not possible to distinguish
between psychic and physical formal processes—other than externally. In support of all this, there is the comment of Mircea Eliade that ‘In point of fact, man
never chooses a site, he simply “discovers it”. . . . One of the means of discovering
one’s situation is by orientation’ (17). Now, in order to grasp the symbolic sense
of a landscape it is necessary to distinguish between the predominant elements
and the merely incidental, and between the character of the whole and the character of the component elements. When the predominant element is a cosmic one,
its effect is to bind all the other components together, and it is this cosmic
ingredient which makes its influence felt over and above that of the individual
features of the landscape. Instances of such cosmic features are the sea, the
desert, the icy wastes, the mountain-peak, clouds and sky. It is when the ingredients of landscape-symbolism are varied and evenly balanced that symbolic interpretation is most needed. The interpreter must, then, look for the following: (a)
a spatial pattern organized within particular limits which endow it with a structure after the manner of a building or a work of art. By spatial symbolism we
mean, in the first place, the symbolism of level, that is, the disposition of the
zones of the landscape according to the three levels of the normal, the lower and
the higher; and secondly the symbolism of orientation, that is, the position of the
accidental elements in relation to the north-south and the east-west axes. He must
then bear in mind (b) the form—the pattern or the shape of the terrain, whether
it is undulating or broken, steeply sloped or flat, soft or hard; (c) the positional
relationship of the particular area chosen to the region as a whole or to the zone
surrounding it—whether it is lower or higher, more open or more enclosed; and
finally (d) the natural and artificial elements which make up the organized pattern: trees, shrubs, plants, lakes, springs, wells, rocks, sandy shores, houses,
steps, benches, grottoes, gardens, fences, doors and gates. Also important is the
predominating colour, or the clash of colours, or the general feeling of fecundity or
barrenness, of brightness or gloom, of order or disorder. Roads and cross-roads
are of great significance, and so are streams. About the objective meaning of each
of the factors we have listed above there is much that we could say; however,
since the more important factors—such as the symbolism of level—are dealt
with under separate headings, we will here add no more than a few notes. Steepness indicates primitiveness and regression; flat country denotes the apocalyptic
end, the longing for power and for death. There is a Persian tradition that, when
the end of the world has come—when Ahriman is vanquished for ever, the mountains will be levelled and all the earth will become one great plain. Ideas cognate with this are to be found in certain traditions of Israel and France (35). It would
not be hard to point to the history of architecture and town-planning as evidence
of the subconscious application of these principles. Furthermore, there are some
aspects of landscapes which have a symbolic air about them that is very difficult
to analyse intellectually. For instance, the following descriptive passage from
Dante’s Commedia has always seemed to us to evoke an atmosphere of profound
mystery: ‘Around this little island, in its lowest reaches, there, where it is lashed
by the waves, reeds grow in the soft mud’ (Purgatorio I, 100). Independent of the
cosmic significance of landscape, there may also be a sexual implication. It is also
essential to bear in mind that this is not strictly a matter of symbols as such but
of complex, symbolic functions. For instance, in scenes depicting low-lying topographical features, the following factors may be at work: (a) depth in the sense
of what is base, comparable therefore with the wicked and infernal; (b) depth in
the sense of what is symbolically profound; (c) depth as it pertains to the material earth itself, implying a chthonian and maternal symbolism. Only the context
can help us to tell the essence from the accessory—as is true also of the vast
majority of symbols. Here we must bear in mind the primitive concept of the
archetypal ‘ideal countryside’. Schneider has observed that the fact of there being
so many identical names for rivers and mountains in different parts of the world,
suggests that megalithic ways of thought must have led to the custom of naming
the topographical features of different regions after some ideal model. This model,
it may be argued, could be the product of the lasting impression made upon the
mind of Primitive Man by a particular environment endowed with such unity and
variety as to prevent him from ever wishing to leave it; but it could also be
explained as the projection of a psychic order founded upon laws comparable
with those governing quaternary patterns, or the mandala, etc. Man’s attention
was first drawn to the contraposition of heaven and earth by topographical
features, and he gave expression to this in the struggle between gods and Titans,
angels and demons, and in the opposition of mountain and valley. Next, he set out
to explain the earth’s surface by means of the laws of orientation, taking the four
points of the compass from the apparent orbit of the sun as well as from the
human anatomy, and identifying them as ambivalent forces—ambivalent because
they are at once hostile to things external and the defenders of their limits. As
Schneider adds: ‘To preserve cosmic order, the gods fought with the giants and
the monsters which had from the very beginning of creation sought to devour the
sun. They stationed the heroic lion on the celestial mountain. Four archers’—the
tetramorphs—’are continuously on guard day and night against anyone who
attempts to disrupt the order of the cosmos’ (50). The stockade, the wall or stone
enclosure, comments Eliade, are among the oldest known parts of the structure of temples, appearing as early as in proto-Indian civilizations such as that of MohenjoDaro and also in Crete (17). They owe their origins to the same basic, primordial
idea of the symbolism of landscape—its representation of cosmic order. The
mountain with one peak is symbolic of the One—of transcendent purpose; the
two-peaked Mountain of Mars stands for the Gemini, the world of appearances
and the dualism of all forms of life. Both these symbolic mountains find their
symbolic complement in the general pattern of archetypal landscape—also, incidentally, an image of the year; this pattern is composed of the river of life (denoting the positive phase) and the river of oblivion (the negative phase) which flow
through the sea of flames (expressing infirmity) and well up from a single source
(birth or the Origin). According to this scheme, every landscape has a disastrous
and a felicitous tendency, corresponding on the temporal plane with the selfevident distinction between ‘coming’ and ‘going’ which in turn is analogous to the
two halves of human existence. But, quite apart from all this, the symbolic
interpretation of a landscape may be determined according to the laws governing
diverse and individual correspondences, as well as the overall significance derived
from the complex of meanings afforded by its separate features. By way of an
illustration of the many possibilities of interpreting the significance of a landscape, we will conclude with some comments on Vallcarca with its characteristic
low-lying features. The gardens are at a lower level than the city proper, and
screened from it by the vegetation, which has something of the archaic and oriental about it. The main street leads north towards an open plain, signifying the
process of disintegration. On the other hand, those streets which lead towards the
mountain are on the favourable axis. In this case, the interpretation is obvious
enough, as it is in all instances of scenes where it is possible to identify the
essential features of archetypal landscape.

To dream of various landscapes in your dream, represent where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? Consider what is going on in the landscape and how it may parallel your own waking life. In particular, a barren or dry landscape depicts dissatisfaction in your love life. According to Freud, the dream landscape symbolizes the human body. A landscape with gentle contours symbolize the female body, while a rocky landscape represents the male body. Also consider the feelings that the landscape invokes.

To dream of ever changing landscapes, indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Something may be slipping away from your grasp. Look at the symbolism of key elements in the landscape.

Dreaming of various landscapes in your dream, represents where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? According to Freud, the landscape symbolizes the human body. Dreaming of ever changing landscapes indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Consider the symbolism of key elements in the landscape.

In the Zohar, the ‘magic head’ stands for astral light (9); in mediaeval art
it is a symbol for the mind (46) and for the spiritual life, which explains the
frequency with which it appeared in decorative art. On the other hand, Plato in
Timaeus asserts that ‘the human head is the image of the world’. In corroboration
of this, Leblant points out that the skull, the semi-spherical crown of the human
body, signifies the heavens. Clearly, the head-symbol here coalesces with that of
the sphere as a symbol of Oneness. It had the same significance in Egyptian
hieroglyphics (19). The eagle’s head has been used as a solar symbol and an
emblem of the centre-point of emanation—that is, of the cosmic flame and the
spiritual fire of the universe (4). Two, three or four heads shown in juxtaposition
symbolize a corresponding intensification of a given aspect of head-symbolism.
Thus, the Gemini, a symbol of the duality of Nature, or of the integrating (but not
unifying) link between the two principles of creation, are represented by beings
with two heads or two faces, like the Roman Janus for example. Hecate is depicted with three heads—she is called triform for this reason—a symbolism
which may be related to the ‘three levels’ of heaven, earth and hell, as well as to
Diel’s three ‘urges of life’ (15). The juxtaposition of four heads or faces, as in the
image of Brahma the Supreme Lord, stems from the same symbolism as that of
the tetramorph (60). A factor of major importance bearing upon the symbolism of
the head is mentioned by Herbert Kühn, in his L’Ascension de l’humanité (Paris,
1958). He makes the point that the decapitation of corpses in prehistoric times
marked Man’s discovery of the independence of the spiritual principle, residing
in the head, as opposed to the vital principle represented by the body as a whole.
Kühn adds that Neolithic thought was very close to the mediaeval in its conviction that an eternal and invisible essence underlies all appearances (Plate XV).

To see a head in your dream, signifies wisdom, intellect, understanding and rationality. It may also represent your accomplishments, self-image, and perception of the world. The dream may also be metaphor to indicate that you are "ahead" in some situation or that you need to get ahead.

To dream that someone is trying to rip your head off, suggests that you are not seeing a situation or problem clearly. Perhaps you are refusing to see the truth. You have to confront the situation or the person despite the pain and discomfort you might feel in doing so.

To dream that you have two heads, indicate that you need to learn to ask for help and accept assistance. Consider the metaphor "two heads are better than one". Do not try to do everything yourself.

To see a person's head in your dream, and it is well-shaped and prominent, you will meet persons of power and vast influence who will lend you aid in enterprises of importance.

If you dream of your own head, you are threatened with nervous or brain trouble.

To see a head severed from its trunk, and bloody, you will meet sickening disappointments, and the overthrow of your dearest hopes and anticipations.

To see yourself with two or more heads, foretells phenomenal and rapid rise in life, but the probabilities are that the rise will not be stable.

To dream that your head aches, denotes that you will be oppressed with worry.

To dream of a swollen head, you will have more good than bad in your life.

To dream of a child's head, there will be much pleasure ill store for you and signal financial success.

To dream of the head of a beast, denotes that the nature of your desires will run on a low plane, and only material pleasures will concern you.

To wash your head, you will be sought after by prominent people for your judgment and good counsel.

Seeing a head in your dream means wisdom, intellect, understanding and rationality. It may also represent your accomplishments, self-image, and perception of the world. Dreaming that someone is trying to rip your head off, suggests that you are not see a situation or problem clearly. Perhaps you are refusing to see the truth. You have to confront the situation or the person despite the pain and discomfort you might feel in doing so.

A head symbolizes intelligence, logic, wisdom and making decisions. A dream of a head may mean that you are changing your mind about something or are unable to make up your mind. A dream of a headless body may be a warning that you aren't thinking clearly - you're "losing your head."

To dream that you are in a sanctuary, signifies your need to escape from the demands of your daily life. You are searching for some peace and quiet. You need time to decompress and to restore your faith.

Bachelard has pointed out that the meadow, being nourished by the
waters of a river, is in itself a subject of sadness and that, in the true meadow of
the soul, only asphodels grow. The winds find no melodious trees in the meadow—
only the silent waves of uniform grass. Bachelard also mentions Empedocles’
description of ‘the meadow of ill fortune’ (2).

To see a meadow in your dream, represents openness and security. You are taking time out to appreciate your accomplishments.

To dream of meadows, predicts happy reunions under bright promises of future prosperity.

Seeing a meadow in your dream, represents openness and security. You are taking time out to appreciate your accomplishments.

To see your own feet in your dream, symbolizes your foundation, stability and sense of understanding. It signifies your need to be more practical and sensible. Keep both feet on the ground. Alternatively, feet represents mobility, independence and freedom. Perhaps you have taken a step in the right direction and are contemplating your goals or your next step. The sole of the foot may be a pun of being or feeling like the "sole" or only support of some person or situation.

Consider also the pun of "putting your foot in your mouth".

To dream that you are washing your feet, indicates that others can easily take advantage of you. For Christians, washing your feet symbolizes forgiveness and compassion. If someone is kissing your feet, then it symbolizes humbleness, humility, or devotion.

In particular for the people of India, to dream of the feet may symbolize divine qualities since the feet are considered the holiest part of the body.

To dream of seeing your own feet, is omnious{sic} of despair. You will be overcome by the will and temper of another. To see others' feet, denotes that you will maintain your rights in a pleasant, but determined way, and win for yourself a place above the common walks of life.

To dream that you wash your feet, denotes that you will let others take advantage of you.

To dream that your feet are hurting you, portends troubles of a humiliating character, as they usually are family quarrels.

To see your feet swollen and red, you will make a sudden change in your business by separating from your family. This is an evil dream, as it usually foretells scandal and sensation.

Seeing your own feet in your dream, symbolizes your foundation, stability and sense of understanding. It means your need to be more practical and sensible. Keep both feet on the ground. Alternatively, it represents mobility, independence and freedom. Perhaps you have taken a step in the right direction and are contemplating your goals or your next step. The sole of the foot may be a pun of being or feeling like the only support of some person/situation. Dreaming that you are washing your feet indicates that others can easily take advantage of you. In particular for the people of India, to dream of the feet may symbolize divine qualities since the feet are considered the holiest part of the body.

For some people, dreaming about feet can be a very sexy dream. Besides sexual connotations, the dreams can represent your ability to move forward in life. Dreams with feet in them point to how well you are balanced and grounded.

The 12th-century writer Alan of Lille, in his De planctu naturae,
describes Nature as an allegorical figure wearing a diadem set with jewels in
imitation of the stars: twelve stones symbolize the signs of the Zodiac and seven
stand for the Sun, the Moon and the five planets (14). This concept is wholly
astrobiological in character, since it partakes of the tendency to bring the discipline of numbers to bear upon living things, and to infuse the astral, the mineral
and the abstract with the vital forces of plant and animal life.

To dream of nature, denotes freedom, tranquility, restoration, and renewal. You are utilizing your instinctual nature.

Dreaming of nature indicates freedom, tranquility, restoration, and renewal. It may represent that your internal instincts are experienced and expressed.