Subconscious structure in the Paradise illustration in a book by Doctor Dahesh
Lebanese mystic and miracle worker Doctor Dahesh collected art, and probably had some illustrations of Biblical metaphors of spiritual themes made by collaborators. Naturalistic figurative styling by Arabic-speaking artists is rare, after the iconoclast ban imposed by Islam.
Structural analysis of illustrations in the books of this transmuter or alchemist, reveals many of the universal, collective subconscious typology of attributes, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by some limb joints, relative to the cultural Age.
The artist of some illustrations may have been Mrs Mary Chiha Haddad, sister of Laura, wife of Besharah el Khoury, former president of Lebanon. She was imprisoned in a mental institution for some time.
The set of archetypes in the Paradise design of Doctor Dahesh is (in the standard sequence, with the universal average frequencies of some common attributes in brackets):
2 Taurus as peacock in a tree (sometimes a bird in a tree)
3 Cista Mystica as branches from a truncated stump (often a woven texture. See the Mayan cacao tree engraving at Izapa)
3 Aries as small bird (42% long or bent neck, here uncertain)
4 Pisces as one of two swifts (sometimes two birds. See Persian images of Pisces as birds flanking a field. See the Mayan Izapa engraving’s type 4 as birds)
4p Galactic south pole on a swift’s wing (50% limb joint)
5:20 Aquarius as a swift (31% hyperactive)
6 Capricornus as a nymph, nearest the centre (48% ingress /egress), emerging from the tree (sometimes a tree. See the Mayan Izapa engraving of a tree person). The extra woman on the left supports type 6, which is sometimes double-headed
7 Sagittarius as a dark man’s head outline (25% bag), covered by hair (often with a rope)
7g Galactic centre on water (sometimes water) where a nymph emerges
9 Scorpius as spotted deer (more typical of adjacent 7)
10 Libra as antelope, adjacent to a butterfly (53% arms in V/W posture. Some additional figures are ‘determinants’ of adjacent figures)
11 Virgo as eve’s womb (87% womb. The goose is a supporting ‘determinant’)
11p Galactic Pole on Adam’s shoulder (68% limb joint)
12 Leo as Adam and Eve, eyes obscured (11% inversion)
13 Leo as Eve’s heart (85% heart)
14 Cancer as a bird
15 Gemini as a peacock tail feather ‘eye’, sin of Pride.
The ecliptic poles are on the axial hub, unmarked (51% unmarked). The 6-14 axis is slightly below the axial centre, implying some rework of either figure (see rework in Blake’s Dante Meets Beatrice in Paradise). The work is a print (see the paper tear down the middle). It is signed G Davis or Pavis, or a similar name. It is uncertain whether this is a design after Dahesh, or dictated by Dahesh.
The celestial pole is on a branch knot (50% limb joint /juncture). The celestial south pole is on the horizontal plane. These markers place summer in Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. Most artworks are framed in the time of the perceived formation of current culture, thus always one or two Ages prior to the work. Creation themes are usually framed in transitional eras.
The general theme could be type 10 Libra, typical of nature-culture balance. Creation themes invite cosmograms. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.
Subconscious structure in the Inferno, in a book by Doctor Dahesh
Naturalistic figurative styling by Arabic-speaking artists are rare after the iconoclast ban imposed by Islam. Structuralist analysis of illustrations in books by the Lebanese sage, reveals many of the universal, collective subconscious typology of attributes, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by some limb joints, relative to the cultural Age.
The set of archetypes in the Inferno design in a book by Doctor Dahesh is (in the standard sequence, with the universal average frequencies of some common attributes in brackets):
1 Taurus as a devil on a pinnacle throne, sideways (48% twisting), horned? (19% bovid)
3 Cista Mystica as souls entering hell in a vortex stream (often a woven shape)
3 Aries as fallen angel B
4 Pisces as fallen angel D, lashing souls
4p Galactic south pole on his shoulder (50% limb joint)
5:20 Aquarius as purified soul emerging?
6 Capricornus as a soul in torment (sometimes a sacrifice)
7 Sagittarius as incarnated woman B
8 Scorpius as a soul rising (31% strength feat)
10 Cista Lid as abyss of hell
10 Libra as a soul with arms up (53% arms in V or W posture)
11 Virgo as incarnated woman A’s womb (87% womb)
12 Leo as incarnated woman A’s heart (85% heart), escaping hell (11% inversion)
14 Cancer as a soul escaping, against the stream?
15 Gemini as fallen angel A, near another (sometimes twinned), prodding souls (16% smiting) with a staff (9% sceptre).
The ecliptic poles are on the axial hub, at a cave? The celestial south pole is on a hip (37% limb joint), placing ‘winter’ in Capricornus-Sagittarius, thus ‘summer’ in Cancer-Gemini, thus ‘spring’ and the cultural time-frame in Age Aries-Pisces, about BC 80. The subconscious structure of artworks is usually framed in the Age prior to the work. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.
The general theme here could be type 15 Gemini (see Tarot trump 15, Devil, or worldly creator), and its opposite, type 7 Sagittarius, often a forming or ‘buck bag’ of physical manifestation, next to the galactic vortex, here on the abyss of hell (see vortexes in Blake’s art).
Duktur or ‘Doctor’ Dahesh was a gifted miracle worker. Some witnesses tell how he transformed parts of paintings to life, leaving blanks in the paintings. These artworks express general themes related to incarnation and excarnation, manifestation and transmutation, or the archetypal axis between types 15 Gemini and 7 Sagittarius.
Paradise trees are vertical vortexes (vortices, or churn groups in art), often expressed in the galactic gate between types 15 Gemini and 1 Taurus Auriga-Orion (here on a peacock tail of eyes).
Infernos are fire vortexes, sometimes expressed between types 7 Sagittarius and 8 Scorpius-Ophiuchus, where the galactic centre lies, a little south-west of this gate. Rock art sometimes usees cracks in rock as a kind of veil from, or into, which animals or people emerge or move out of view (see Mindprint p164-169).
Miracle workers intervene in the mechanism of manifestation, or in perception of manifestations, via our fickle thoughts. Paintings are typical of manifestation, and of a vortex of images spun out of perception and inspiration.
Structural analysis reveal that some artworks express the moment of inspiration, when some of the characters are still ‘buck bags’ of moths manifesting from their limbs, and from the vortex at the ‘galactic centre’ of the work. All five levels of structural expression are subconscious to artists, storytellers, ritual liturgists, and users of cultural media.
See a page on How to do structural art analysis, on this website.
See more art analysis examples, and some text on the philosophy and psychology of archetype, and on structural anthropology, on www.edmondfurter.wordpress.com
See articles on structural rock art analysis by Edmond Furter, in the anthropology journal Expression, editions 9, 10, 12, 13; and some articles in Atelier books, such as Rock art; When, Where to Whom, edited by Prof Emmanuel Anati. One of the articles is here: http://www.atelier-etno.it/e-journal-expression/
Order the book Mindprint, by Edmond Furter (2014), with 200 art and rock art illustrations, a critique of cognitive archaeology and art history, references, and an index of 400 tested artworks, from www.Lulu.com
Order the book Stoneprint (2016), from the author in Johannesburg, South Africa, on edmondfurter at gmail dot com