Categories
Mindprint in ayahuasca art mindprint in modern art Mindprint in peyote or mescaline art

Rudy Gutierrez’ musical art therapy

Artist Rudy Gutierrez illustrated music album covers for jazz, rock and reggae artists (John Coltrane, Gerald Albright, Roy Hargrove, Pablo Moses). He also painted the Jimi Hendrix 2014 memorial postage stamp, and many book covers. His painting of a guru or music producer with a collage of musicians is typical of his dynamic and multi-sensory, surreal style, sharing many features with ayahuasca and DMT art, such as spirals and vines. Structuralist analysis against the archetype model of universal subconscious expression, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this Gutierrez work.

Gutierrez sees art as therapy, visual art and music as connected, and is anti-drugs, like DK Dyson. He is also an arts academic and teacher. The dominant general theme in the Musicians painting is revealed by extra features of type 10 Teacher, typical of raised arms (here of all ten characters), staff (flower stalks and guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’). Another general theme is the polar triangles, typical of limb-joints (here raised arms, and active postures).

Rudy Gutierrez; Guru and musicians (after Abduzeedo. Archetypal labels and axial grid by E Furter). His multi-sensory surreal style shares many features with ayahuasca art. Archetypal analysis demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this work.

Type Label; Character (noting archetypal features):

2 Builder; John Coltrane (hero) with trumpet (twist).

2c Basket; Geometric (weave) bird. And guru’s ear (maze).

3 Queen; Guru’s left eye.

4 King; Guru’s implied third eye.

5a Priest; Guru’s right eye (‘priest’, hyperactive, assembly), pouring water (water).

5b Priest; Musician?, face frontal, sits on a sunflower.

5c Basket Tail; Two sunflower (weave) heads (plant, disc).

6 Exile; Bryan Adams or Bruce Springsteen, on a rose flower (tree).

7 Child; Whitney Houston points at her palm (unfold), on a throne (chariot?).

7g Gal.Centre; Whitney Houston’s hands (limb-joints).

9 Healer; Bob Dylan (trance?) leans (bent forward).

9c Basket Lid; Stream (weave, reveal) from guru’s hands.

10 Teacher; Beads? (school?) and heart shadow in guru’s hands (arms-up).

11 Womb; Diana Ross?’s midriff, pregnant (womb) in a flower (crop), in the stream (water).

12 Heart; Diana Ross? In the stream (water-work).

13 Heart; Barbara Streisand’s chest (heart), in a flower.

13c Basket Head; Barbara Streisand. And Sunflower spiral (weave).

14 Mixer; Aretha Franklin, pointing (dance?), in a flower (tree).

15 Maker; Carlos Santana with guitar (sceptre), in flower bud (bag).

15g Gal.Gate; Rose heart (juncture) on chain (rope of 15). And trumpet (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Unmarked, probably on the vertical plane.

11p Gal.Pole; Barbara Streisand’s hand (limb-joint).

Summer; Rose boy C’s hands (limb-joints), and source of swift birds (limb-joints).

Winter; Angel? (limb-joints) and end of swift birds (limb-joints).

The solstice axle is on the horizontal plane of the axial centre, confirming summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. This ‘era’ is confirmed by the types of the main character’s left eye and implied third eye, in the top central position.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

  • See a painting and poster by the lesser recognised Frank Gutierrez in a post on edmondfurter.wordpress.com
  • See articles on, and examples of the archetypal structuralist model analyses, in the book Mindprint, the subconscious art code (2014), and editions of Stoneprint Journal, available on Lulu.com and in bookstores linked to Lulu.

 

Categories
archetype Archetype in rock art art

Churn of re-creation also in African rock art

The iconic surreal churn of life and spirit, or interchange between matter and energy, is recognised in Indian art and myth as a milky ocean of soma related to a former spring equinox (Furter 2014). This motif also appears in some inspired rock art worldwide, as in this rock painting in Nanke shelter in Zimbabwe. The infinity wimple here expresses the same meaning, as a totality of responses to external pressures, named ‘panarchical discourse’ in history (Gunderson et al 2009), or ‘phase transit’ in chaos theory 3D graphs. Nanke was one of a set of traditional oracles, on par with Bronze Age and classical Greek, Egyptian and other sites. In addition to semi-conscious icons and visions, all complex rock art works also express archetypal structure (see the rock art analysis below).

Roman spiritual centres such as the oracle of the dead at Baia, in the volcanic Bay of Naples near Rome, also had paintings at their entrances; likewise destroyed (Paget 1967; Robert Temple 2003) to re-appropriate spiritual authority. This post demonstrates that one of the many unschooled surrealist rock paintings in the Matobo range, express the same archetypal features as all complex artworks in all cultures.

The dominant general theme in this Nanke shelter rock painting is type 15 Maker, typical of ropes (named ‘rope of the sky’ in San myth and in rock art), churn (here the central character), or re-creation (here nature, animals and people). Another general theme here is the adjacent type 15g, of limb-joints, here part of the ‘churn’ motif (see the introduction above). Another general theme in the work is type 10 Teacher, typical of raised arms, staff, hunt master, ecology, or school.

One of many example of archetypal structure in rock art (Zimbabwe, Matobo range, Nanke Cave. After Parry 2012. Type labels and axial grid after E Furter 2014, 2019).

Type label; Characters in the Nanke cave ‘churn’ painting (noting archetypal features):

1 Builder; Shoulder-head of rope-man churn (twisted), leaning on staffs (trance, of 8 opposite).

2 Builder; Rope-man churn (twisted) (NO EYE).

2c Basket; Shoulder-head rear, ropes (weave). C-types are usually off the grid.

3 Queen; Ostrich (long neck).

4 King; Antelope cow?, with young.

5a Priest; Antelope running (active).

5b Priest; Bowman spanning (active).

5b Priest B; Priest? (ritual?), axis on his chest (heart, of 13 opposite) and three with beams (horizontal).

6 Exile; Antelope (horned). And swimmer (ingress).

7 Child; Swimmer or walker.

7g Galactic Centre; Swimmer, arms up (limb-joints?), staff (of 10). Some apparently interrupted artworks indicate that visual expression spirals out as bags or limbs (named ‘formlings’ in archaeology) from this junction.

8 Healer; Swimmer in churn centre (strong?), at rope-man’s legs (pillars).

9 Healer; Swimmer? (NO EYE).

9c Basket-Lid; Fish pool churn wave (weave, lid).

10 Teacher; Swimmer (arms up?).

11 Womb; Pregnant womb (womb).

12 Heart; Runner?

13 Heart; Lion (felid), axis on chest (heart, confirmed by 15-14-13 flat outline).

14 Mixer; Dancer (dance), arms up, staff (of 10).

15 Maker; Antelope between two ropes (rope).

15g Galactic Gate; Antelope rump (limb joint).

Axial centre; Unmarked as usual.

4p Galactic S. Pole; Small bowman’s feet? (limb-joint?).

11p Galactic Pole; Bender’s shoulder (limb-joint).

Midsummer (cp); Churn’s front elbow (limb joint), on axis 14-15, implying spring and the cultural time-frame as Age Aries-Pisces, probably the perceived era of cultural formation. But midwinter (csp) could be on the churn’s hip (limb joint), on the axis 5, implying spring and the cultural time-frame as Age Taurus, typical of alchemical works in all cultures, and supported by the centrality and prominence of types 1 and 2. Structuralist time-frames are widely approximate, not exact in conscious terms.

Vishnu churn after the Mahabharata (tracing after De Santillana 1969. Type labels and axial grid after Furter 2014). Ropes, churn, canids and doubling express the general theme of types 15 and 15g, re-creation and incarnation.
  • See the stoneprint structuralist anthropology model, theoretical basis, data sources, examples in several media, conclusion, and references, in the paper Blueprint, in a post on http://www.edmondfurter.wordpress.com.

 

Categories
Archetypal structure in mushroom or psilocybin art and fairy art mindprint in modern art

Lindy Kehoe’s Serendipity Circus art of surreal meaning

Artist Lindy Kehoe’s child-styled artwork Serendipity Circus, pictures a semi-visionary dynamic, innocent and joyful moment of children and animals on rowdy, surreal parade in a garden. Her illustrative style is similar to Mark Chagall. She told Mindprint Art: “Chagall has represented a brother to me, in the dream-like trance state I experience when I paint, and when I saw his works first-hand. I have a deep fascination with tracing our hidden roots in etymology, and unveiling patterns and codes that flow from creation and creatives in the collective.” Some time ago she wrote of being ‘immersed in my own mythology… alive in a living story… attempting to weave the fabric of an old tapestry… wanting to be seen, heard, remembered; a story-keeper… to tell a Lemurian fairy-tale of heaven and earth… bringing alive the mythos of others through illustration… to conceive guardians we need, to protect our innocent courage… [in] the multi-dimensional holographic landscapes of dream-time.’

Lindy Kehoe; Serendipity Circus. The artwork subconsciously expresses a high level of integration among nine of the sixteen archetypal themes, typical of visionary or trance artists. her style is similar to Chagall, whom she visualises as a ‘brother’ (after http://www.lindykehoe.com and IG lindy_kehoe_art, with permission. Archetype labels and axial grid by E Furter).

Type Label; Character (archetypal features):

1 Builder; Peacock (bird) on one leg (twist). And cat E.

2c Basket; Vine (weave) with pods (containers, cluster). And cats A, C, and D. And peacock feathers. And trumpet (container). C-types are off the axial grid, but between specific axes.

3 Queen; Tree-cat B (queen?) tall (neck long).

4 King; Vine leaf–eye A, one of two (twins).

5a Priest; Leaf eye.

5b Priest; Rabbit, violet (colour, not counted here due to abundance) with cymbals (priest, hyperactive) leading parade (assembly).

5c Basket Tail; Rabbit’s cymbals (discs). And rabbit fluffy tail (tail).

6 Exile; Tortoise (reptile).

7 Child; Snake (‘rope’, unfold).

7g Gal.Centre; Dog’s forepaws (limb joints, path).

8 Healer; Dog (canid) jumping (bent forward).

9c Basket Lid; Red fly agaric mushrooms (disc, lid) of trance (trance, reveal). And mushrooms (disc). And sea star (lid).

10 Teacher; Seed pods? And dog-tail (canid) as a serpent (snake), waving a stick (staff) in parade (carousel).

11 Womb; Mother giraffe midriff (womb).

12 Heart; Drummer clown child marching.

13 Heart; Mother giraffe chest (heart).

13c Basket Head; Elf (oracle) child with cap (hat, lid) picking inverted vine (tree). And candy-striped mountain peak cap. And cats G and H.

14 Mixer; Trumpeter (time, see Midsummer marker below) marching (dance), with feathers (angel) and peacock (bird) and banner, near the centre (ingress), left eye. And cat F.

15 Maker; Trumpeter marching (rampant, order), large face (face), right eye, with feathers (winged), with banner (sceptre, order). And heart on banner staff (sceptre) with motto (order). And sun face (face).

Axial centre; Trumpeter’s elbow (limb-joint).

4p Gal.S.Pole; Standard staff base (juncture).

11p Gal.Pole; Drummer child’s jaw (limb-joint).

Midsummer; Trumpeter’s jaw (limb-joint).

Midwinter; Unmarked. The solstice axle is on the vertical plane. These markers place midsummer between 14-15, analogous to Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, typical of many works made in Age Pisces, particularly towards the end of Age Pisces (which ended in 2016).

Some themes interlock

Kehoe’s Serendipity Circus artwork has an unusually large number of general themes, indicated by extra features of nine types:

3 Queen, typical of long necks (here seven cats and a giraffe), spring (garden);

4 King, of sun, bird, field;

5 Priest, of colours, ritual (parade), hyperactive, assembly, reptile (tortoise, snake), winged (two birds, trumpeter’s feathers);

6 Exile, of horns (caps, and cats’ vine-horns), reptile (tortoise, snake), tree (garden);

7 Child, of bag (two flags), juvenile (two children, young animals);

8/9 Healer, of pillars (tree-cats), disc (turtle, sea-stars);

10 Teacher, of raised arms (of rabbit, two children, dove and elf child), staff (two flag-posts), hunt-master (noise flushing out animals), guard (parade), ecology (fauna and flora), carousel (parade circle);

14 Mixer, of time (serendipity in the title), transform (trumpeter as bird, animals as musicians), tree (garden), felid (many cats), reptile (turtle, snake), dance (parade);

15 Maker, of rampant posture (marching), or order (flags and parade).

Yet another general theme is the four transitional fields, off the axial grid but between specific axes:

2c Basket, of weave (here feathers and vines), instrument (trumpet, drum, cymbals, flags), hat (caps, bells); and its opposite 9c Basket Lid, of discs (cymbals, turtle, sea-stars);

5c Basket Tail, of trees or herbs (garden); and its opposite 13c Basket Head of oracles (sigil on the tortoise back).

Expressing a large number of general themes is typical of visionary, trance, mescaline, psilocybin, ayahuasca or DMT art, often at the cost of leaving some individual character features at minimalist levels. Thematic integration indicates artistic and probably individual maturity.

General themes reveal that nature and culture tend to re-use certain slightly ambiguous features (particularly reptile, bird, felid, horns) in expressions of overlapping themes; while other ambiguous themes, such as equid, are reserved for other works.

  • Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
  • See similar themes and styling in mushroom or psilocybin art in other posts on http://www.mindprintart.wordpress.com
  • See similar themes and styling by Chagall in forthcoming posts.
  • See archetypal structuralist analysises of artworks in styles associated with mushrooms, child cartoons, sugar or candy, fairies, mescaline, ayahuasca, and DMT, on http://www.mindprintart.wordpress.com and on http://www.stoneprintjournal.blog
Categories
mindprint in modern art

Durer’s Melancholy expresses archetypal ambiguity

Albrecht Durer’s emblematic and allegorical engraving of Melancholia, has inspired many interpretations. Its minimalist design uses several objects, particularly scientific instruments, as ‘characters’. Esoteric multimedia artist William Blake had a print of this engraving all his life (Word and Silence 2019). Blake’s own artworks also tended to be emblematic and structuralistically minimalist (Furter 2014). Durer’s Melancholy contains only four living characters (woman, cherub, dog, bat); far fewer than eleven, and thus outside the scope of structuralist analysis (Furter 2014, 2016). But minimalist artworks such as seals, cylinder seals, stamps and jewels, express all five layers of natural and cultural structure by using some items and limb-joints, which usually express polar markers in more complex workss (Furter 2018; Stoneprint Journal 5; Culture code in seals and ring stamps).

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: rectangle of types 4 or 15g; furnace or smelt or metal of types 4, 9, 10; disc of types 9,10; building or pillar of types 1v8; school or teacher of types 3v10; laws and crafts of type 10, 11; reptile of types 3v10 or 14; canid of types 9, 10, 14 (see a similar subconscious play on ambiguity in subconscious features of Henry Holiday’s illustrations for Lewis Carroll’s Hunting of the snark, in a post on http://www.edmondfurter.wordpress.com). General themes in Durer’s melancholia include;

4 King; squat (here of both humans), rectangle (magic square), sun (in view), furnace (crucible).

9 Healer; pillar (here the cube, building, and city), smelt (crucible), trance (meditation).

10 Teacher; arms up (here wings), staff (here dividers), metal, disc (millstone), school (crafts).

11 Womb; womb (here the prominent woman, and the sphere), water (here a bay), law (sciences and crafts), library (crafts skills).

14 Mixer; time (here an hourglass, and Temperance), transform (alchemy), angel (two humans), reptile (bat), canid (dog).

Transitional types 2c 5c 9c and 13c Basket, is the strongest general theme here, typical of instruments (here a workshop), revelation (sciences and crafts), disc (millstone, and implied by dividers), planet (sun in view), and metal (crucible and tools).

Ambiguity is a general archetypal theme, typically expressed in emblematic artworks (as in Babylonian, Indus and Egyptian seals), and by esoteric minimalist artists. Recent revelations that Indus seals function as rebus logos for metallurgy suppliers and traders (http://bharatkalyan97.blogspot.com) deserve more study to examine how some writing conventions came to be used with double meanings. Below is a structuralist anthropology analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019), noting its structuralist deficiencies, mainly for replacing eyes by other focal points.

Structuralist archetype model analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019). Minimalist artworks often use items as characters.

 

Type Label; Character (archetypal features):

2 Builder; Hourglass nail on the building (tower); time as accomplisher (build) and unraveller (ruin). NO EYE.

2c Basket; Scales pan B (instrument, container, arm-link or pivot-link).

3 Queen; Scales pivot (more typical of 10 opposite 3). NO EYE.

4 King; Sun (sun). And cherub sitting (squat). He also has polar functions (see 4p and Midwinter below).

5a Priest; Bat (reptile, winged, hyperactive) with banner (sash) and tail (tailcoat head), under rainbow (colours).

5c Basket Tail; Crucible (container). And cube with tetrahedron removed. Hammer. Dog tail (tail). And lamp?

6 Exile; Dog as lamb of God (sacrifice), curled ( U-shape). Canid is more typical of 14 opposite.

7 Child; Tongs rivet ‘eye’ (eyeless). The shape is more typical of 8.

7g Gal.Centre; Planer (juncture). And saw (juncture).Mallet or inkpad? (juncture). And foot (path).

9 Healer; Divider point A (bent ‘forward’, implied disc) of steel (metal). NO EYE.

9c Basket Lid; Purse (‘lid’, reveal).

10 Teacher; Divider point B (metal, ‘arms’, ‘staff’, implied ‘disc’).

11 Womb; Woman’s midriff (womb) or Science (gestation of knowledge).

12 Heart; Woman’s chest (heart).

13c Basket Head; Woman’s head (head) with wreath (weave, tree, hat), of Science (oracle).

14 Mixer; Woman as Temperance (time, angel) or Alchemy (transform) or the vice Melancholy (passing time); near the centre (ingress).

15 Maker; Bell attachment (churn?) with a rope (rope).

15g Gate: Magic square (grid) of 34. A grid is more usual between 15 and 1, here displaced to between 14 and 15.

 

22 Axial centre; Unmarked as usual.

4p Gal.S.Pole; Boy angel’s jaw (limb joint).

11p Gal.Pole; Woman’s hip (limb joint). More often inside the outline of types.

Midsummer (cp); Woman’s jaw (limb joint).

Midwinter (csp); Boy angel’s heel (limb joint).

The solstice axle is near the horizontal plane. These markers place midsummer in types analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre, expressing the central themes of time and balance. The time-frame is before the work, as usual. A Taurid time-frame is typical of alchemical works.

The analysis score is 25/68 archetypal features; 6/16 axial eye points; 13/4 c-type sector features; 4/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 6/2 general themes; thus 59/100, minus 0 extra characters off the axial grid; total 59%, close to the general average of 60%. Some excessive scores reveal that the current formula is adequate only if the indicated ‘maxima’ are ignored; and if excesses are considered as compensation for the impossibility of full scores in other structuralist layers. Thus the current analysis scoring formula requires further refinement.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Categories
Mindprint in ayahuasca art

Eugenia Loli’s Nirvana art peeks into a tower of subconscious revelation

The dominant general theme in Eugenia Loli’s Nirvana artwork is revealed by extra features of type 1 /2 Builder. Its optional recurrent features include cluster (here people and planets), tower, building (here a vault or symbolic subconscious, as recognised by the Builders of the Adytum), hero (rope climber, astronaut, scientist, explorer), book (implied science and library), spring (shadows southward towards green fields), maze (staircases to space-time), and pit (vault). Compare this design with Tarot trump 16, Tower struck by lightning, often shown with scientists and measuring instruments blasted off by lightning of subconscious inspiration. A higher magnitude of 1 is 16 in base-8, an archetypal system often used in natural media (see Furter 2016; Stoneprint p74-81, including atomic numbers in the Periodic table in spiral format after Peyroux).

Type 1 /2 axial opposite is type 8/9 Healer, where optional recurrent features include strength (here the climber and astronaut), pillar (several), heal (implied by levels of consciousness, and maturing students), disc (protractor), smelt (atom), and trance (surrealist style). Between axes 2-9 and 3-10, lie the transitional fields of 2c Basket and 9c lid, whose optional features include weave (here a plant-nest, and atomic orbitals), instrument (telescopic viewers), container (cube), hat (climbing helmet, space helmet, spinning top ‘hat’, and exploration pith helmet), secret (space-time perspective), and planet (here five). Extra expressions of transitional types, and of types 5v12/13, is typical of art styled after ayahuasca, DMT and other hallucinogen visions.

In this work, all the other types, and the polar junctures in the centre, are also strongly expressed, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. Below 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 Ego-Shadow, Anima and Self.

The artist sees trials and technology as ‘evolution’

The artist wrote that her theme here is ‘the journey of humanity towards a higher state of being. The building and universe are all we could comprehend in human form… In the process, and part of progress, is war and misery. The cube is a teaser of the ultimate prize, placed by ascended people on the top level. The second level is about expanding our horizons towards enlightenment. The woman in black is ready to make the leap. The man on the staircase tries to call her back, but too late. Two people attempt to reach the third level, one climbing, one using trans-human space technology’.

Terence McKenna had a similar view of technology as part of human ‘skin’ (see posts on Ayahuasca oracle of the dead as counter-cult, on www.stoneprintjournal.wordpress.com

Loli continues: ‘The climber and the astronaut would both evolve beyond human. The trophy in the cornice between painted angels, is just a trap, since climbers would have to leave behind vices, delusions, limitations and pride. Most never manage that. A skull is hidden in the flying spaghetti monster flower. At the very top, ascended people wait for newcomers to see the bigger picture beyond time and space.’

The presence in Loli’s work of all five levels of archetypal structure, as they are present in artworks and rock art works of the Ice Age, Younger Dryas, Bronze, Iron and modern eras, ironically contradicts the general assumption of ‘evolution’. But the need for individual maturity is part of the rationale of every human life, and perhaps of life itself. This artwork, and the archetypal ‘grammar’ within it, thus raises the unresolved issue of the extent of ‘evolution’.

Eugenia Loli; Three minutes to nirvana (after eugenia17@gmail.com with permission. Archetype labels and axial grid by E Furter). The work subconsciously expresses about 83% of the currently known archetypal structuralist features; an unusually dense expression for art, but common in complex, psychedelic, New Age, ayahuasca or DMT art where theme, design and inspiration are highly integrated.

Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork.

Type Label; Character (archetypal features):

1 Builder; Ascended or ‘evolved’ group (cluster) seeing the vault (pit) of several levels (tower, built, maze).

2c Basket; Tropical plant (weave) hanging like a nest (container, throne), holding a skull (monster, as of decan star Algol).

3 Queen; Spinning top, UFO or hat (more typical of 10 opposite, or 9c).

4 King; Venus or planet, its axis to its centre (womb, more typical of 11 opposite).

5a Priest; Earth (colours, hyperactive, assembly, water, large).

5b Priest A; Explorer (hyperactive) calling back the woman from leaving.

5b Priest B; Explorer’s second axis (hyperactive) on chest (heart, of 13 opposite).

5c Basket Tail; Air exit (maze).

6 Exile; Child A (small) using viewer (double-head) in U-mount (U-shape).

7 Child; Child B (juvenile) viewing fire vortex (unfold).

7g Gal.Centre; Fire vortex (vortex, juncture).

8 Healer; Child C using geometry projection (‘strong’, ‘pillar’) at protractor (disc) to imagine (trance) an atomic (smelt) cube.

9c Basket Lid; Atom (disc, reveal) with orbitals (weave) in a cube (lid, instrument) levitated by child (armlink). And protractor (disc, lid, instrument).

10 Teacher; Child D operating viewer (arm up, school).

11 Womb; Woman scientist (law), axis to her midriff (womb) in monument (interior) with cosmic knowledge (library), leaving the vault.

12 Heart; Woman scientist leaving or rising.

13 Heart A; Respirator case (‘heart’) of astronaut (angel).

13 Heart B; Astronaut’s (angel) chest (heart) and tanks (rounded).

13c Basket Head; Astronaut’s head (head) and helmet (hat, lid).

14 Mixer; Rope (more typical of 15) climber between spaces and times (time, transform, angel).

15 Maker; Cornice angel or genie (re-creator) in a pair (doubled, churn, order) at a trophy cup (more typical of 14).

15g Gal.Gate; Sun over vault opening (juncture). And a skull (more typical of 15).

 

Axial centre; Unmarked, as usual.

4p Gal.S.Pole; Unmarked.

11p Gal.Pole; Woman or scientist’s shoulder (limb-joint).

Midsummer or celestial pole (cp); A pillar capital (juncture).

Midwinter or celestial south pole (csp); A pillar base (juncture).

The solstice markers are on a vertical plane. These polar triangles place midsummer between Gemini and Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the presence of three types 5 (5a, 5bA, 5bB), which is analogous to Aquarius. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

The tentative structuralist analysis score is 45/68 archetypal features; 16/16 axial points; 12/4 c-type sector features [excessive scores are counted, to compensate for other fields where full scores are impossible due to inherent optionality]; 3/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 84/100, minus 1 extra character off the axial grid; total 83%. This total is above the upper average margin of the sigma curve of about 35% to 75%. See another unusually detailed expression of known archetypal features, in structuralist analysis of archetype in Marc Alexander’s artwork Prophetic antics, in a post on www.stoneprintjournal.blog).

See other posts on how to identify archetypal features in any artwork or built site or other cultural media, on www.mindprintart.wordpress.com

 

Categories
archetype culture is subconscious Stoneprint in site maps

Subconscious blueprint in Teotihuacan art and site plan

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.

Teotihuacan mountain stream mural

Structuralist analysis of an apparently random or chaotic Aztec mural at Teotihuacan, reveals the usual five layers of subconscious structure. Several types are expressed by two characters on the same axis, and by extra adjacent axes (notably types 5a and 5b, here labelled Aq5,20 and Aq5,21). The four Heart axes are in the mountain stream, a conical but watery hill with waterfall and cave. In the site map below, see type 2 Builder (here labelled Ta2 for Taurus2), as Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster). See the Underworld notes below. Types 11 Womb and 12/13 Heart (here Vi11, Le12, Le13) are in the centre of this watery caved hill. In the site map (below), type 11 Womb is at the centre of the ‘Moon’ pyramid, and types 13 Heart (Le13) are at the centre of the ‘Sun’ pyramid. As usual, structuralist correspondences are not consciously intended, but arise from archetype.

Water hill mural at Teotihuacan, in the Tepantitla, near type 5b or Aq5,21 on the map. After Wikimedia. Calendric labels with archetypal numbers (see the site map list for detail), and axial grid by E Furter.

 

 

Leo sun and Virgo moon on Teotihuacan pyramids avenue

 

Teotihuacan pyramid field (after Rene Miller. Calendric labels and archetypal numbers, and axial grid by E Furter). North is 15.5 degrees left of top. Most other maps of this site are inaccurate.

The sequence of archetypes in Teotihuacan pyramid field is (noting globally recurrent, archetypal features with analogous calendric labels):

1 Builder or Taurus1; Feathered Serpent (bird) temple’s east forecourt.

2 Builder or Taurus2; Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster. See Underworld notes below).

2c Basket; Feathered Serpent’s court.

3 Queen or Aries3; Feathered Serpent’s west temple.

4 King or Pisces4; Feathered Serpent’s west forecourts, four rectangles.

5a Priest or Aquarius5,20; Very large court (large).

5b Priest or Aquarius5,21; A temple or palace.

6 Exile or Capricornus6; Small pyramid, far from the centre (ingress /egress).

7 Child or Sagittarius7; A quartered cluster.

8 Healer or Scorpius8; North complex.

9 Healer or Scorpius9; Palace of Quetzalpapalotl annexe.

10 Teacher or Libra10; West temple of ‘Moon’ pyramid.

11 Womb or Virgo11; ‘Moon’ pyramid core (womb).

12 Heart or Leo12; Palace of Jaguars (felid).

13 Heart or Leo13; ‘Sun’ pyramid core (heart).

14 Mixer or Cancer14; ‘Sun’ pyramid south temple, near the invisible axial centre (ingress).

15 Maker or Gemini15; Double structure (doubled).

15g or Gate; Moat (path, water) or boundary.

Axial centre; On the central avenue edge (juncture), at the ‘Sun’ pyramid enclosure SW corner (juncture).

Galactic axle (pG and pGs); Diagonally across the middle part of the central avenue (which is 15.5 degrees east of north), at about 19.5 degrees east of north. These angles derive from tetrahedral and spherical geometry, involving the irrational fraction pi.

Midsummer or Celestial Pole, pC; On the ‘Sun’ pyramid corner (juncture), about due east-west (‘horizontal’) from the invisible axial centre. This polar marker places the structuralist abstract ‘summer’ between types 13-14, in the sector of the half-type 13c Basket Head, analogous to Leo-Cancer months (labelled Le13 and Cn14). Thus ‘spring’ and the time-frame is in Age Taurus-Aries (always 90 degrees before midsummer), indicating BC 1500, before the work as usual. This subconscious ‘dial’ at the fifth level of subconscious archetypal expression, is always approximate, particularly when expressing Age transitions. In Aztec myth, the Fifth Sun manifested at Teotihuacan. More study of site features, as they are revealed by excavation, could reveal or contradict some archetypal features.

Underworld in Teotihuacan’s Rain Bird cave

A tunnel under the Feathered Serpent pyramid (see type 2 Builder in the list above) has thousands of treasures left as ritual dedications about 17m underground (Chavez 2004). Items include crystal eyes, spiral shells, metal spheres, and a miniature mountain landscape model with tiny pools of liquid mercury representing lakes as a kind of underworld. The walls of the tunnel were rubbed with powdered pyrite (fool’s gold) to imitate galaxy stars. A cluster of items is typical of type 1 and/or 2 Builder, analogous to the Pleiades and Hyades star clusters in Taurus, due to the common archetypal origin of cultural media. The tunnel passes below the nearby great plaza, from type 2 Builder, which recurrent features include caves (see the Appendix. See the Seven Sleepers cave of Ephesus in the Europe chapter). The tunnel also runs under type 2c Basket of Mysteries, which is often expressed as a hidden container, a secret, or delayed revelation. One end of the tunnel has three chambers with many items (cluster), including four greenstone figurines carrying bundles of objects, pendants, and pyrite mirrors, probably calendar characters. Watermarks confirm that the plaza above was flooded to imitate the sea of re-creation, with pyramids as metaphorical mountains re-emerging. Some theories (see http://lostscienceoftheandes.com/) propose that surface ponds may have acted as quake and volcanic detectors, since earth tremors resonate best at latitudes north or south 19.5 degrees.

In the Feathered Serpent pyramid (type 2 Builder, or Ta2), above the surface, were remains of about 100 warriors, kneeling with hands bound behind their backs, probably sacrifices (type 2 features include twisted postures). In the tunnel are many fragments of Storm god figurines, typical of type 1 Builder or Ruiner (labelled Ta1), perhaps ritually smashed to imitate or to cancel his destructive element. His features include lightning and underground waters, perhaps including volcanic lava (while the adjacent type 2 Builder more often expresses rain and mud-brick or adobe building). These cultural features may support Mayan geology science theories of ponds used as seismographs.

Palace of the Jaguars (type 12 Leo or Heart on the map) includes this mural of a jaguar (felid, analogous to decan Ursa retro) blowing a conch shell trumpet (type 11g, analogous to the Galactic Pole). Rain god Tlaloc’s three ’stars’ express three poles; the galactic pole before the shell, ecliptic pole above the shell, and celestial pole over its back.
Categories
archetype art culture is subconscious mindprint in modern art

Poussin’s Arques tomb; Archetype lives also in Arcadia

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 (see another post; Joyeuse, palace of privilege, romance and tragedy). 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: “Mantua gave birth to me, Calabrians raped me, Parthenopa (Pozzuoli, Oracle of the Dead at Naples) comes back to me now. 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 afterlife.

To Spanish nobility, southern France was an underworld, south of the Pyrenees, towards infidels, illiterate backward Christians mustering forces, and Africa. Arcadia seems the opposite of cities, yet Delphi’s rural oracle became a densely built precinct of temples, embassies and treasuries. The Roman oracle of the Dead on the Bay of Naples became enclosed by Rome’s elite suburb (Paget 1967). The French arcadia in the Razes has a reputation for rebels, such as Spaniards, Cathars and Templars.

Nicholas Poussin: Et in Arcadia ego (after Electra2zeiss. Type labels and axial grid by E Furter). Poussin and Blake are among artists who expressed mindprint by fewer than eleven characters in some works, using limb joints instead of eyes (Stoneprint Journal 5; Seals). In minimalist or abstract works, limbs on the ‘galactic’ equators are near circular, as here, and in Boudet’s map (p16). Poussin’s landmarks are near Arques and the French meridian: left Bucharach; central 13 Blanchefort (see a photo of Blanchefort from a low angle, in another post, Rennes les Bains stoneprint tour).

Nostradamus visualised graves and treasure here (see Rennes les Bains 3; and, Rennes le Chateau 11 and 11p, in other posts). The Midi canal from Thau on the Mediterranean, via part of the Aude at Carcassonne, to the Garonne at Toulouse, for small cargo barges of wheat, wine and wool, was studied by Augustus, Nero, Charlemagne, François I (who paid Leonardo Da Vinci for a survey), Charles IX and Henry IV; built under Louis XIV and finance minister Colbert, whose colleague Fouquet, a friend of Poussin, hinted at his lucrative secret in a letter, perhaps a canal solution.

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In ‘Travels at Rennes le Bains’, Labouisse-Rochefort (1832) again saw an Arcadia here. Jules Verne referred to this area in some of his novel codes. The Two Rennes is now a theme park for treasure hunters, fakers, conspiracy theorists, and researchers trying to separate fact from fiction. The Two Rennes live out two lives; eking out a rural living, and amusing tourists with the promise of a few cracks in the wall of legends and codes.

Legends and spiritual passions outnumber physical remnants and history here. But history and legends now enable revelation of the standard layers of subconscious expression of archetypal structure, and thus conscious access to our collective behaviour. Semi-conscious symbols are part of innate, natural, archetypal culture.

Arques castle (Postcard scan: Belcaire Pyreness).

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archetypes in religious art art culture is subconscious mindprint in modern art

Rennes le Chateau’s Sermon on the Mount mural is archetypal therapy

The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount, to newly chosen Apostles, and a crowd west of Galilee, perhaps at the Horns of Hattin, an east-west ridge near Capernaum. Abbe Berenger Sauniere chose this scene for the theme of spiritual healing and ascension.

The western direction, and flowers, indicate spring or autumn sunset, perhaps from Rennes hill, with Casteillas left, and Couiza right (see Rennes le Chateau map 6 and 11). Some authors see it as Bains (11) Mt Cardou; or the Rose Line meridian through Bains, just west of the Paris Meridian; or Violets Hill between the two Rennes (see Bains map 1); or Mt Bugarach; or Roziers Hill. The scene could also be Lavaldieu hill, on the south between the two Rennes, on axis 3 of both.

General subconscious themes in the mural include type 2c Basket, here expressed by Christ; and its opposite, type 9c Lid, here as the bread bag of St Germaine, a girl from a nearby village. She used miraculous flowers in midwinter to hide a bread she had stolen for a beggar, a miracle of physical and spiritual healing. Another general theme in the work is type 5 Priest, here expressed by boy A, perhaps a future priest, Sauniere himself, with the other boy as his brother Alfred, also a priest.

The inscription below reads, “Come to me all who suffer and are overwhelmed, I will comfort you,” from a sermon of Bernard of Clairveaux, after Mat11;28. The cure requires a small task; “Come to me all that labour and are heavy laden, I will give you rest. Take my yoke on you, learn of me, I am meek and lowly in heart, find rest for your souls. My yoke is easy, my burden is light.” If St Magdalene is the woman weeping over Christ’s feet, she is a model of cure and service, since Christ had cast seven devils from her (Luk7;37), enabling her to anoint with tears and ointment. She was present at his crucifixion, a global exorcism of sins. She anointed his body again at the tomb. She saw him risen on Easter Sunday. In local legend she continued the Judaic royal line in France. Magdalene and her ointment vase in art, often expresses type 1/ 2 Builder (see emblems, such as Tarot trump 2, Priestess, Wisdom under a veil between two pillars. See the Types, trumps and hour decans table, in another post). Here her head is under Christ’s cloak. The risen Christ’s hand is now her ‘vase’ (type 2c Basket, container). The sermon is on eight spiritual blessings.

Sauniere had contracted artists from Italy to paint the commercial casts of statues and Cross stations, dictating some background scenes and revisions (Smith 2018), apparently to transpose Biblical episodes into a localised landscape ‘sermon’.

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Rennes le Chateau church back wall relief group of Christ’s Sermon on the Mount (photo after Massagot. Type labels and axial grid by E Furter). Abbe Sauniere had ordered ‘about twelve figures’ from Giscard of Toulouse. Each character expresses some archetypal features, confirmed by the positions of their eyes on an axial grid, as in all complex artworks.

 

 

Type label; Character (noting archetypal features):

[]1 Builder; St Magdalene (priestess), on one knee (twisted), weeping (rain).

[]2c Basket; Christ’s cloak (cover).

[]3 Queen; Christ (sacrifice, spring), preaching (school) spiritual blessings.

[]4 King; Mary (queen), kneeling to touch Christ’s garment. NO EYE.

[]5a Priest; Boy A. Perhaps St Germain and St Sulpice churches as ‘sons’ of St Vincent de Paul; or Sauniere himself and his brother Alfred, also a priest; or Bains and Rennes villages.

[]5b Priest; Boy A’s chest (heart, of 13 opposite). Transfer from a sketch to deep relief sculpture, may have moved this axis from the eyes of boy B and the father, to boy A (more reliefs should be tested).

[]5c Basket Head; Father of two boys (St Vincent de Paul?), with a crutch (leg posture).

[]6 Exile; Mother of a girl and a baby.

[]7 Child; Baby (juvenile) in swathing (bag), eye off the grid (common at 7).

[]8 Healer; St Germaine (see Rennes church floor 6, in another post), kneeling (bent forward), her apron with bread (healer) or gold (metal).

[]9c Basket Lid; Apron bag (container).

[]10 Teacher; Bread bag or gold (metal), torn (9c revelation). Wheat is more typical of 11. NO EYE.

[]11 Womb; Reclining wife’s midriff (womb) under her hands, probably pregnant.

[]12 Heart; Wife’s chest (heart).

[]13 Heart; Wife. And husband’s chest (heart).

[]14 Mixer; Husband, far out (egress).

[]15 Maker; Young man with an arm wound (more often leg wound; see Rennes church floor 15 St Rock statue, in another post). 

[]Axial centre; Christ’s right foot (limb-joint).

[]4p Gal.S.Pole; Unmarked, or displaced to Mary’s elbow (limb-joint). MOVED?

[]11p Gal.Pole; Wife’s elbow (limb-joint).

[]Midsummer; Christ’s left foot (limb-joint), horizontal (orientation) from the axial centre, on axis 14-15. This marker implies that spring and the cultural time-frame is on axis 3-4, analogous to Age Aries-Pisces, the era at the start of Christianity. Artworks and building sites usually reflect the time-frame prior to the work. Structural layers of expression are subconscious to artists, architects, builders and members of any culture.

UPDATE: Structuralist art analyses of other Sermon on the Mount artworks, including Bloch and Dore

Sermon on the Mount print that may be the model for Giscard’s design (image after L’Independant. Axial grid and type labels by E Furter).

The mindprint in all artworks is structurally identical. The number of archetypal characters differ (usually twelve, fourteen, sixteen, eighteen or twenty); the characters differ (although some of their features usually (60% average) include one or two of the archetypal features specific to the type they express in the work; the direction of rotation may be in either direction; and the orientation of the subconscious structure differs (the top central type, or the position of the seasonal markers).

Sermon on the Mount by Bloch, 1877 (image after Wikipedia. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).

Sermon on the Mount by Gustav Dore (image after Creationism. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).

 

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culture is subconscious Indian Harappan art archetype Mohenjo Daro art

Indian Harappan seals express archetype in characters and script

Typology features of characters in the Indian Parhupati seal, as in all cultures, demonstrate that the five structural layers of expression are subconscious to artists, architects, builders and members of any culture. Early Indian seals compare well to Dilmun seals, partly due to stylistic exchange, but mainly due to universal archetype. General themes in the famous buffalo god Harappan seal include type 6 Exile or Capricornus; of ingress (here of the god), sacrifice, U-shaped (here of two letters, and of horns), volute (here of the podium bases), horned, and double-headed (here of two letters, and the main character).

India, Harappa, Parhupati seal (after Njasaryablog, bottom right character missing, assumed, and restored as antithetical. Typology and axial grid by ED Furter).

These characters express about 50% of the known recurrent features of the sixteen archetypes, in their sequence, and with their focal points on the axial grid, as usual (the average is 60%, but miniature artworks usually express fewer).

Type; Character (noting archetypal features):

2 Builder or Taurus; Fish (of 3? But see a type 2-4 swop in a Hellenic salt pan calendar, on https://stoneprintjournal.blog/2018/04/02/a-greek-salt-frying-pan-model-of-character-and-calendar/ ).

3 Queen or Aries; Two-headed dragon (long or bent neck, dragon, spring). Also typical of 6. Types 3 and 6 are inherently ambiguous in about 5% of their features.

4 King or Pisces; King? Sitting (squatting), with 4p (twins).

4p Gal.S.Pole; Shoulder (limb joint) of twin (of 4), squatting (of 4).

5a Priest or Aquarius; Man B’s midriff (should be chest, heart, opposite of 12, GRID ERROR, typical of miniature artworks) of officiant (priest, assembly).

5b Priest or Aquarius; Rhinoceros.

6 Exile or Capricornus; Buffalo (horned. Its double-headed feature is transferred to type 7).

7 Child or Sagittarius; Buffalo person (horned, of 6), three-faced (unfolding), near the axial centre (ingress, of 6).

7g Gal.Centre: Podium B (juncture).

9 Healer or Scorpius; Caprid (of 6), looking back (of 3 or 10) under podium (pillar).

9c Basket Lid; Podium.

10 Teacher or Libra; Caprid at podium (guard).

11 Womb or Virgo; Tiger’s midriff (womb).

11p Gal.Pole: Tiger’s jaw (limb).

12 Heart or Leo; Tiger (felid).

13 Heart or Leo; Man A’s chest (heart).

14 Mixer or Cancer; Elephant.

15 Maker or Gemini; V-shaped dragon A (doubled, churn).

15g Gal.Gate; V-shaped dragon B’s jaw (limb joint).

The axial centre or ‘ecliptic’ pole is unmarked, as usual. The celestial south pole is on horn B (usually a limb joint, which the horns here seem to express). The horizontal plane confirms ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.

The five structural layers of art and architecture, are subconscious. Some of the symbolic aspects of archetypal features are semi-conscious, thus semi-logical. The only design that hints at some conscious understanding of the axial grid by the artist, is the Cycladic salt pan bottom calendar, with radial divisions (see the link noted at type 2 above). However the calendar is understood as an abstract cycle, and most cultures and crafts do not inquire further into the underlying structure of time, space and character. Crafts such as astrology and alchemy use aspects of art, particularly emblems and icons, but tend to isolate their functions from common crafts such as art and myth.

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Indus seal, Mohenjo Daro. Pipal fig tree goddess and Seven Aswins or wives of sages (after Harappa.com. Typology and axial grid by ED Furter).

Angel of time

General themes in this Indian seal of Mohenjo Daro, include type 13c Basket Head, typical of prediction or calendar feasts, here a head offering, a box, and two structurally ‘extra’ aswins, or wives of sages. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.

2 Builder or Taurus; Ram.

2c Basket; A letter (woven texture).

3 Queen or Aries; : (in the damaged edge).

4 King or Pisces; Fish (fish, rare).

5a Priest or Aquarius; Man, its head in the damaged edge. Priest? (priest).

5c BasketTail; Letter, U-shape (of 6).

6 Exile or Capricornus; Wife G with cap (horned), far from the centre (egress).

7 Child or Sagittarius; Wife G, opposite two types, a regular device in minimalist works. Hair tassle (rope, juvenile).

7g Gal.Centre; Wife F.

9 Healer or Scorpius; Wife E.

10 Teacher or Libra; Wife D.

11 Womb or Virgo; Wife C’s midriff (womb).

11p Gal.Pole: King’s foot (limb joint).

12 Heart or Leo; Wife C’s chest (heart, palace), under stool with head.

13c BasketHead; Wives B, A. And stool, box (container), head on stool (of 13, death).

14 Mixer or Cancer; Goddess in papal fig (tree) gate (U-shape of 6 opposite), calendric feast (time), far (egress).

15 Maker or Gemini; King (order) offering a head (face, doubled), creeping forward (rampant).

The axial centre is unmarked as usual. The celestial south pole is on the ram shoulder (limb joint), placing ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.

The culture code model

An abstract chart of the labels, sequence, ocular (eye to eye) axial grid, polar points of pairs of opposite, and Age calibrator of the subconscious structure of cultural expression.

Mindprint model of the archetypal structure, or ‘grammar’ of natural and cultural expression (after Furter 2014, 2016). The typological set of sixteen clusters of optional features, applies to all media, including cosmology, calendar, ritual and myth. The five levels of typology, sequence, polar points, axial grid of eyes, and spatial orientation of eyes or focal points, are directly testable in complex artworks (including seals and jewel stamps) and in building sites.

STONEPRINT Journal 5; The culture code in seals and rings

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Categories
Archetype in Islamic art culture is subconscious Mindprint typology of sixteen visual archetypes

An early Islamic metal mirror with figurative art expresses archetypal structure

Lively characters in a roundel on the back of an early Islamic Turkish metal mirror cast found in Iran, expresses the universal subconscious set of character features, sequence, polar markers, and time-frame orientation. General themes in the design include type 5 Priest or Aquarius (assembly, varicoloured, hyperactive, priest, tailcoat head); and type 6 Exile or Capricornus (polar, sacrifice, volute, horned, double-headed). Mirroring is repeated in a double-headed character (at 1); and two antithetical staffs; and subconscious doubling of four of the ‘single’ types; and in the metal cast itself.

Iranian or Turkish mirror made for the Persian market, 1200s, early Islamic style (metal. After Pinterest. Typology and axial grid by ED Furter). (See another metal artefact made to order, in the Gundestrup Bowl made in Greece for the Celtic market, in Stoneprint Journal 1; Pictish Beasts).

Type; Character (archetypal features):

1 Builder or Taurus; Bauble A of bird-bull man (cluster), dancing (twisted).

3 Queen or AriesB; Two-headed staff (long or bent neck), antithetical (dragons).

4 King or Pisces; Eagle B (bird, twins) sitting (squatting) in a kiosk (rectangle).

5a Priest or Aquarius; Priest-king (assembly, varicoloured, priest).

5a Priest or AquariusB; Priest-king eye B (assembly, varicoloured, priest).

5b Priest or Aquarius; Eagle A (assembly, decan Aquila), looking back (inversion, of 12).

5c BasketTail; Two-headed staff dragon (heads, mirrored).

6 Exile or Capricornus; Dancer with cap (horned) presenting gift (sacrifice) at two-headed staff (volute).

6 Exile or CapricornusB; Dancer with cap (horned), presenting gift (sacrifice).

7 Child or Sagittarius; Centaur (rare), with bag.

9 Healer or Scorpius; Man-leopard?, arms back (bent forward, healer?).

10 Teacher or Libra; Tamer (guard, hunt master; or metallurgy), with bull-staff (staff).

10 Teacher or LibraB; Bull-staff (staff, carousel).

11 Womb or Virgo; Woman’s midriff (womb).

11p Gal.Pole: Woman’s knee (limb joint).

12 Heart or Leo; Lion (feline) chest (heart).

12 Heart or LeoB; Lion (feline) tamed (death).

13 Heart or Leo; Lion griffin (feline) chest (heart), broken hind leg (death; Ursa, foreleg).

13c BasketHead; Water snake (head, decan Hyda).

14 Mixer or Cancer; Dancer (dancer, not accounted here due to abundance).

14 Mixer or CancerB; Dancer B (dancer, not accounted here due to abundance).

15 Maker or Gemini; Gift (bag) of re-creator.

The celestial pole is on the design centre (rare), or unmarked. The celestial south pole is on a hand and knee, or a foot (limb joint). These options place ‘spring’ and the cultural time-frame in Age Taurus (bird-bull-man as equinox, and the main character as winter ritual); or Age Aries-Pisces (bird and two-headed staff near the top). The design continues some Age Taurus features (compare to Age Aries Egyptian palettes), but the artefact is Age Pisces, early Islamic medieval metalwork, before Islam banned figurative images. The uncertain time-frame expresses transition between tradition and reform.