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Die Farben des Bildes werden bestimmt durch das rotorange Haar der Frau und die für Munch typischen dunkelblauvioletten Schatten.

In deren Dunkelheit scheinen sich auch die Figuren aufzulösen. In den Jahren bis entstanden insgesamt sechs Bilder mit dem Titel Vampir.

Ein Ölgemälde aus dem Jahr wird im Göteborger Kunstmuseum ausgestellt. Zwei weitere Fassungen sind im Privatbesitz.

In den Jahren bis malte Munch fünf weitere Fassungen des Motivs, von denen einige in die Umgebung eines Waldes versetzt sind. Ferner schuf Munch zwei Lithografien , zu deren zweiter Version er die Farbplatten ausarbeitete.

Vampir ist nicht der ursprüngliche Titel des Bildmotivs. Uwe M. Schneede wies darauf hin, dass die Interpretationen der beiden Schriftsteller stark auf ihren eigenen, damals in der Kunstwelt verbreiteten Anschauungen basieren.

Statt als Vampirismus im physischen Sinne lässt sich das Bild daher auch als Versuch einer Frau deuten, den Mann durch ihre Liebe an sie zu binden, ein Sujet, das in Munchs Werk häufig problematisiert wird.

Munchs ursprünglicher Name für das Motiv lautete Liebe und Schmerz. In unterwürfiger Haltung kauert der Mann vor der ihn dominant umschlingenden Frau.

Für Munch hängen alle drei Themen miteinander zusammen und bedingen einander. Die Liebe zeigt sich in vielen Schattierungen und beinhaltet auch negative Gefühle wie Eifersucht und Verzweiflung.

Munch sah in ihr jene Kraft, die den Tod überwinden kann und neues Leben schafft. Der Liebesakt symbolisierte für ihn aber auch die Begegnung mit dem Tod und der Ewigkeit.

In seinem Werk hat Munch langes Frauenhaar immer wieder als Symbol für weibliche Kraft und Stärke sowie als Symbol für eine energetische Verbindung zwischen den Geschlechtern stilisiert.

In dem Gemälde Loslösung etwa, ebenfalls ein Teil des Lebensfrieses, spannen sich die Haare als sichtbares Band zwischen einer hell gekleideten Frau, die aufs Meer blickt und einem abgewandten Mann, der sich ans blutende Herz greift.

Auch hier steht ein Mann zwischen Liebe und Schmerz, zwischen einer Verbindung zu einer Frau und der Trennung von ihr. Eine Lithografie nach demselben Motiv geht noch weiter und lässt das Frauenhaar direkt nach dem Herz des Mannes greifen.

Es umschlingt in roten Strähnen den Kopf eines unterhalb von ihr postierten Mannes. Während die Frau ihren Kopf zur Seite neigt und selig lächelt, zeigt der Mann, umschlossen von ihrem Haar, ein griesgrämiges Gesicht.

Dieser Titel führte zum Zerwürfnis zwischen Mudocci und dem Maler. Reinhold Heller datierte die ersten Zeichnungen des Motivs jedoch auf das Jahr Ihr Kopf war ihm so nah.

Sie senkte ihren Kopf über ihn und er spürte zwei warme, brennende Lippen auf seinem Nacken. Ein Schauder durchfuhr seinen Körper, ein Schauder der Wollust.

Verschiedene Kunsthistoriker haben sie als Vorbild von Madonna ausgemacht, einem motivischen Gegenstück zu Vampir.

From: Amos Haggard Vampires are creatures of myth and imagination, and as such, probably closer to the ideal than the real, for most of us at least.

When fiction deals with myth, or with folklore, wish-fulfillment tends to be stronger than realism. So we have the Western gunman in his role as the hero's best friend riding for the sunset to leave the hero free to marry the heroine; because it is nice to imagine that someone would do that.

The word 'marry', by the way, was used advisedly. And because he is imaginary, we can make him do what we like, and there is no need to remember that Wyatt Earp was probably a dispassionate killer.

The same human desire to create a moral light in the darkness - a light preferably held in the strong hands of the hero - led to the idea that symbols of good could keep the vampire away.

But as literary taste moves away from moral example and happy endings, so the idea of evil being defeated by good becomes less credible. The vampire disregards the cross, and the human carrying it doesn't quite believe in it either.

Notions of what is good and what is evil become more uncertain. Maybe a pentangle would be a safer bet The point of all this is that I would agree with the idea that a power-symbol is effective against a vampire only if you believe in it.

However, this is very difficult to explain, unless you concede that your belief, or your imagination, is responsible for the vampire's power as well as the symbol's.

It would be my view that the sane human mind finds it almost impossible to imagine complete and irresistible evil. In the imagination, there will always be some way to combat the dark.

When the general mood is as pessimistic as it is at present, and people see their symbols losing power, there is always a last resort.

You can welcome the vampire's advance, in the hope that his attack will release you, instead of ending your life.

You can grow to despise your weakness and idolize those who take advantage of it. You can allow your fascination with the killer to become stronger than your identification with his victim.

You can enjoy cool sex with your vampire lover and finish by becoming vampire yourself. From: Enigma Nocturnus On the holy symbol issue, I am vexed with a variation on the problem that faces philosophers working in the branch of Ethics: how to deal with the multiplicity of religions.

One can take either of two approaches to the matter. First, one religion could be the 'true religion' and all the rest are fallacious.

Second, one could take a relativist approach and claim that all religions are equally valid. Actually, I take a variation on the second view, since I am a strange breed of agnostic I am currently calling myself a transcendentally agnostic Manichean.

Anyhow, enough of my particular views. Suffice it to say, that I will attempt to establish a set of theories involving holy symbols that either 1 satisfy a multi-religion context or 2 dispense with religion all together.

If religion is used, then the answer is simple. Blessing of a holy symbol or empowering, if you prefer , endows it with a certain power.

This power, by itself, would not be sufficient, as we see many examples where an individual who has no faith has his holy symbol batted away by the attacking vampire.

Faith is a necessary component: it would appear to act as the catalyst by which this power can act in terms of defense.

There is an alternate argument: that an agency of the deity, or the deity himself, comes to the defense of the would-be victim.

These arguments tend to get around the problem of the vampire and the victim being of different religions, which results if the repellent nature of the symbol is purely because of the vampire's fear of sacrilege Secundus, let us turn to a hypothesis where a purely psychic phenomena occurs.

What might be happening under the aegis of religion could well be an unconscious psychic defense. I read the process as follows: Mortal presents holy symbol, and the fear of the vampire reacts with this defensive action by an automatic surge of will through the holy symbol.

The vampire, who is already very sensitive to such phenomena, recoils from the pain at the flood of force, tinged with fear.

Now, this view has some interesting corollaries. Second, vampires would probably be barred by such magical phenomena as magic circles and wards.

In any case, the two major mechanisms I described are not mutually exclusive. In fact, they mesh without too much fuss. By length, I think it is fairly indicative of which I prefer, however having extensively studied psychic, magical, and other metaphysical phenomena in the attempt to understand my world.

Hopefully, the above hasn't been too torturous to read, as I was hoping to condense as much of my thoughts as possible. Author: Unknown.

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