A Rudy Gutierrez painting of a guru and musicians in dynamic, multi-sensory, surreal style, shares features with ayahuasca and peyote art. Structuralist analysis against the universal archetype model, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings. The main theme in Musicians is type 10 Teacher, including staffs (flower stalks, guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’).
Artist Lindy Kehoe’s Serendipity Circus artwork integrates an unusually large number of general themes. This post includes some comments on her programme and style by the artist herself, and the archetypal structuralist analysis of one of her works.
Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous.
Eugenia Loli’s surreal vision of maturing consciousness, subconsciously expresses about 83 of 100 currently known archetypal features, found in artworks of all cultures and all ages. Archetype does not evolve, and the cultural record does not evolve; but the idea of ‘progress’ is itself archetypal. Dense expression of certain archetypes is typical of art styled after ayahuasca, DMT and other hallucinogen visions, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. here is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork. The ‘Three minutes’ in the title, is analogous to the three planes of space and time in cosmology; and the planes of consciousness of individual maturity.
Structuralist analysis of Aztec murals, and the site plan of the ‘Sun’ and ‘Moon’ pyramids and maze of buildings at Teotihuacan, reveals the usual five layers of subconscious structure at several levels of scale. Treasures found in the cave starting under the Rain god’s temple, add mythic and ritual features to the layers of archetypal structure.
Some of Nicholas Poussin’s works are part of the Rennes area mysteries. His father was uncle of Baron Arques, and financial advisor to Couiza’s Duke Anne. Poussin painted two scenes of shepherds at a tomb with Virgil’s Roman epitaph, citing the proverbial Greek Arcadia with its annual fires as metaphor for afterlife, ending thus: “I have sung of pastures, country-sides and leaders, also in Arcadia I lived.” The last phrase became a popular epitaph, implying heaven and hell in life, and in afterlife. This post demonstrates archetypes in Poussin’s ‘Et in Arcadia ego’ painting.
The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount. Abbe Sauniere had contracted artists from Italy to paint commercial casts of statues, dictating some background scenes and revisions, apparently to transpose Biblical episodes into a localised landscape ‘sermon’. Archetypes in the relief group artwork are listed, and compared to three other Sermon artworks (by Gustav Dore, Bloch, and another), in this article from Stoneprint Journal 6.