The intricate painting described weaves together numerous symbols, each resonant with philosophical significance and theoretical underpinnings. In the scene, a woman astride a dragon, clasping a clock, unifies an array of powerful motifs—femininity, dominion over mythical creatures, the relentless march of time, mythological figures, and the artistic flair of fantasy illustration. The woman riding the dragon evokes a juxtaposition of tame and untamed forces—representing the human capacity to harness and navigate the complex terrains of ideology (as alluded to in previous references to figures like Guanyin in Buddhism). It touches upon the human endeavor to control or ally with powerful, and often wild, aspects of nature or the subconscious, as explored in Carl Jung's theories of archetypes within the collective unconscious. The clock in her hand serves as a memento mori, a representation of life's fleeting nature, harkening back to the philosophical musings on time by thinkers such as Aristotle and Leibniz. Here, it suggests command over temporality, or at least, a heightened consciousness of its passage—themes introspectively delved into within Heidegger's existential analysis and Augustine's contemplations of time. When referring to queens or 'dragon girls', such artwork might draw parallels with powerful figures like Tiamat or Daenerys Targaryen from popular culture, evocative of sovereignty, transformation, and the intricate interplay between creation and destruction. It is the province of literary and mythological studies rather than philosophical theories, yet it resonates with the philosophical inspections of identity and agency. Justin Gerard's illustrative style, known for its realistic fantasy, infuses this portrait with a surreal verisimilitude, inviting viewers to reflect on the fusion of reality and imagination—a space deeply mined by Plato in his allegory of the cave.