Here are some examples of type 12/13 Heart or Leo, one of which always (85% in all artworks, building sites and some other cultural media globally) has his axis to his chest instead of his eye, as the other types in the cycle of sixteen have. The heart is an inner eye, however archetypal features are subconscious, and do not follow conscious or conceptual logic.
See more examples in other posts (where this type is marked by the label [le12] and/or [le13]). Its place on the ocular (eye to eye) axial grid is always opposite type 5a/5b Priest or Aquarius.
Type 12/13 Heart or Leo is often felid (lion, tiger, puma); and/or inverted (particularly at type 12 Leo); and/or carries a weapon as a lord of life and death; and/or equid (horse, ambiguous with his opposite type 5 Priest or Aquarius).
An African Shiva in a cosmic battle
Type 13 Heart or Leo as the heart of a multi-headed hero or army general (South Africa, Albany Alb03 1r rock art panel. See multi-headed healers and horses in Indian art. In the myth map of constellations, this type equates with Leo and Ursa, both capable of forming horses. However art does not derive from constellations; both derive from archetypal inspiration, and therefore some of the features of myth, ritual, and art co-incide.
Some expressions borrow from others, as astronomy borrows from myth to name constellations, and astrology borrows from myth to interpret seasonal cycles. Visual expression is a function of an integrated set of concepts, and some are incidental with some of the variant stick figures that we animate among incidental dots in the moving sky.
Ursa offered a string of ‘heads’ along its back as polar markers during Age Taurus (see a lion with stars along its back in the Seti1 ceiling). Ursa was the initial polar torn-off foreleg, as summer to the former spring point at 1 Taurus Hyades (Bull face), and later at 2 Taurus Pleiades, a cluster of seven stars (a small foreleg). Type 14 Mixer or Cancer Ursa Minor took over the summer foreleg role in Age Aries, and by coincidence also has seven stars, as a smaller foreleg.
5b Priest or Aquarius here mirrors the posture of its opposite at 13.
A celestial polar marker on a hip, and on the horizontal plane, tag the inspiration to Age Pisces-Aquarius, our current era. However artworks are more often expressed within the temporal framework of the era preceding the artist, or the era when the current culture was formalised.
Sustained co-incidences of many attributes in art, myth, ritual and religion worldwide, due to archetypal inspiration, tempt the relevant sciences into looking for diffusion routes. Thus some academics, and many amateurs, see this multi-limbed figure as made by an Indian, or learned from Indians. Even if the artist had seen an image of a Shiva or a Kali, the attributes of this figure remain rooted in archetype. Hundreds of other examples of these attributes worldwide, such as the large weapon (10% average frequency in art worldwide); and the invisible (and subconsciously aligned) axis from its opposite type to its heart (85% average frequency in artworks worldwide); and the scythe of the emblematic figure of Death in Tarot trump 13; and the horse of similar emblems; and multi-legged horses in myth, such as Odin’s horse Sleipnir in Nordic culture; all indicate that similarities, even as complex as the four-layered mindprint structure, do not require diffusion, teaching, or learning. All cultures have equally complex myths, rituals, and art. Beneath apparent differences, and distinctive styling, the core content of cultural expression is identical.
Hearts and minds in a cosmic battle
Type 13 Heart or Leo as the chest (heart) of a multi-legged horse (equid) or army of a hero (Indian Asuras and Daityas seeking elixir. R Storm; Legends and myths of India, Egypt, China and Japan. Hermes House).
See flying antelope (aelites or flying buck) and flying horses in rock art. See Tarot trump 13 as death militant on a horse, and many similar emblems in calendric and other visual traditions.
A celestial pole on a covered foot tags the inspiration to Age Aries-Pisces, probably prior to the work, but indicating the era of the cultural reformation that re-formalised or appropriated the classical styling.
Type 12 Heart or Leo as the chest (heart) of the outer of four inverted (invert) figures, and the outer of four figures before the retro face of a double-headed leonine sphinx (felid), in a partially concentric, contra-rotating double imprint of decans on three registers (Egyptian Book of Caverns section 3, BC 1426. AG Shedid cited in Wim van den Dungen. Sofiatopia).
Decans are fairly simple and probably consciously recognised as hours, or reduced to twelve that could also signify months. Here the sequence is boustrophedon (as the ox ploughs, in alternating directions), with a few quirks.
Top register left to right;
3 Queen or Aries between two serpents, with the sun as a spring marker.
2 Builder or Taurus Pleiades as seven (cluster) bull men (bovid), with a former spring marker (spring).
1 Builder or Taurus as mummies (cluster) under mounds.
15g Galactic Gate as three shrines (juncture).
15 Maker or Gemini in a shrine with strings (rope) of ten mummies (churn).
Middle register right to left;
14 Mixer or Cancer group.
13 Heart or Leo group as a burial (death).
12 Heart or Leo group.
11 Womb or Virgo as the sphinx (felid) abdomen (womb).
10 Teacher or Libra as Amun (school) with a staff (staff).
Lower register oscillating;
Central; 9 Healer or Scorpius as a shrine snake.
8 Healer or Scorpius and 7g Galactic Centre as a snake (healer) shrine (juncture).
Right; 7 Child or Sagittarius as decapitated Ages (decapitated. See the Narmer palette in another post, and in more detail in Mindprint).
Left; 6 Exile or Capricornus as small supplicants (small).
Right; 5 Priest or Aquarius as large prisoners.
Left; 4 King or Pisces as large supplicants.
Centre. 4p Rectangle (juncture, rectangle, of 4).
The outer cycle of characters is clockwise, sharing four characters, from 2 to 14, with the other cycle; then following eight alternative features in already used characters, from 13 to 4, incidentally agreeing on types 8 and 6.
The inner cycle among characters in the lower two registers on the right, forms an independent anticlox sequence, agreeing with decans on types 14, 13, 12, 11, 10, then below on 9, 8, (not 7 or 6), 5, (not 4, 3, 2, 1, 15). Some groups have extra figures with relevant features at the ready. Outer and inner imprints converge on 14 and 9.
Dual identifications (the bottom centre figure here expresses three types) appear in several decanal sets (see Seti1’s ceiling, in Mindprint, and in another post). Decans are prone to great variety (as Neugebauer and Parker noted in their study of Egyptian decans. See also Aldred on this theme). Double imprints account for confusing variety among decanal sets. Some conscious genius may be scrambling inspiration here, as also practiced by legendising and historicising mythology and theology.
Decanal sets are examples of schooled inspiration, yet conscious and subconscious sequences live separate lives. No standard set of decans ever emerged.
Decanal art understates the attribute, sequence, structure, polar and orientation features of mindprint.
Celestial polar markers of the outer mindprint, on burial feet and a Sphinx elbow, tag the inspiration as Age Aries, incidental with the spring sun over decanal Aries. Celestial polar markers in the inner mindprint on an inverted foot and knee, confirm Age Aries.
* See a list of all the known features of the types, with 200 illustrations, in Mindprint by Edmond Furter (2014, Lulu.com).