Here are some Gobekli Tepe pillars and related art, demonstrating the new method of structural art analysis (from Mindprint, 2014, Lulu.com, 200 illustrations). The site in Turkey is dated about BC 8000.
[UPDATE 2017 JUNE; The animal top centre on pillar D43 is a fox burrowing to the right. It expresses type 15 Gemini, which is canine in 8% of artworks worldwide. This update corrects its earlier interpretation as an animal rampant to the left. Two dents on its head, on the right, are not misplaced eyes, but probably ancient damage. See a new paper on the archaeo astronomy of Gobekli art, on http://www.stoneprint.wordpress.com and with larger images on Academia.edu.
UPDATE 2016; See structural analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities, including Gobekli Tepe houses plans, and the Gobekli Tepe village plan, at http://www.stoneprint.wordpress.com
My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, including site plans.]
Pillar D43 is an Ice Age thaw culture portrait
Gobekli Tepe pillar D43 expresses the usual set of visual archetypes, in the standard sequence, with their eyes on the standard ocular (eye-to-eye) grid, with the two usual exceptions to one heart and one womb, and with the standard tri-polar structure, in which the orientation of the cultural Age is embedded. The implied time-frame is in the Younger Dryas, or Ice Age thaw, about 5000 years before Sumerian culture.
The archetypes in this artwork are (with some notes on the global average of relevant features, or frequently found features, in brackets);
1 Taurus; Hut or keep, of reed bundles, for stock (See Inana huts below. 1 /2 is/are bovid in 19% of artworks). Some stone figurines here are of animals with loophole bodies for tying down a rope, like weights for leather covers in China, and trade weights in Babylonia.
2 Taurus; The same hut or keep, implying animals inside (see comment under 1)
3 Cista; Spider hut totem (often a woven texture). It is a crayfish (decan Cetus tail) in some emblems, since shape is as expressive as species.
3 Aries; Flamingo or long-necked (42% on average) bird hut totem
4 Pisces; Water-bird or ibis
4p Galactic South Pole; Bird knee (50% limb joint on average); and front edge upper loincloth (decan Pegasus?)
5:20 Aquarius; Water-bird’s heart (of the opposite 12/13; or the bird body forms a snake ‘tailcoat’ head (See John Baptist icons)
5:21 Aquarius; Bird, or vulture chick, with a ‘tailcoat’ body, nearest the pole (more usual at 6)
6 Capricornus; Triangular body, or ‘tailcoat’ head (more usual at 5)
7 Sagittarius; Skin bag (bag 25% on average), headless, perhaps a skin stuffed with birds as a meat fermentation cache, as arctic people still make (BBC DVD: Human planet). Rock art often expresses 7 as a transforming ‘buck bag’ or cocoon.
7g Galactic Centre; on the large bird neck
8 Scorpius; Large bird
9 Scorpius; Large scorpion (rare, but some zodiacs express this option, not implying that the Gobekli Tepe pillar art is a zodiac)
10 Cista Lid; Fox (Lupus, Wolf)
10 Libra; Snake (Serpens)
11 Virgo; Rounded womb (87%) of the vulture, a maternal animal
11p Galactic Pole; Vulture elbow (68% limb joint)
12 Leo; Heart (85%) or pendant, opposite a heart-shaped body
13 Leo; Vulture
14 Cancer; Small bird hut totem, far out (45% ingress /egress)
15 Gemini; Fox (canine 8%) burrowing to the right, perhaps expressing the end of Age Gemini.
The celestial pole is on an orb, on the vertical plane, placing summer in Leo1, thus spring and the time-frame in Age Taurus1, as in some other late Ice Age artworks and buildings in this chapter. These features may support archaeological dating, however the rate of precession and obliquity at that time is uncertain (contrary to astronomy assumptions).
Cosmology and myths are aids to interpretation, but art is not astronomy, nor just mythic illustration. The pillar edge or ‘face’, below the loincloth (decan Pegasus?), has another spider carving (Galactic South Pole at the Cetus spout?), perhaps expressing the triple polar alignment on the Pisces-Virgo axis in Age Gemini-Taurus.
Ancient domestic technology
A row of Inana temple huts in a Babylonian cylinder seal imprint, resemble the Gobekli hut shapes; and the suspended totem animals (here alongside Inana rosette poles); and the woven reed textures in the landscape; and the two central pillars in the houses.
Pairs of pillars, as of Samson, or Hercules, express our daily and yearly poles in cosmology. Gobekli huts may have had beams of reed bundles, as legendary Noah’s ark had. Biblical ‘gopher’ is from KPR, perhaps tar, not ‘wood’. Revival of species was probably a major Younger Dryas theme, retained in myths of Noah’s ark.
A Younger Dryas paradise
The sequence of archetypes in the Gobekli Tepe pillar art on the grey pillar is:
1 Taurus as a snake (more typical of 3c)
2 Taurus as an animal
3 Aries as a bird with bent neck (42% neck long or bent)
4 Pisces as a large snake
5:20 Aquarius as two cranes (twinning is more typical of 4)
5:21 Aquarius as a crane heart (often expresses its opposite 13)
6 Capricornus as an animal
7 Sagittarius as a bird
8 Scorpius as a bird
9 Scorpius as a bird
10 Libra as a bird?
11 Virgo as an animal’s pregnant womb (87% womb)
11p Galactic Pole on a jaw (68% limb joint)
12 Leo as a small hippo
13 Leo as a large hippo
14 Cancer as a rear-facing vulture
15 Gemini as a wolf?
The celestial poles may be on limb joints, on the horizontal plane, placing summer in Virgo, thus spring and the time-frame in Age Gemini, in the Ice Age. Type 14 Cancer is retro-facing, expressing the end of Age Cancer. The polar ‘clock’ usually indicates the age prior to the work, thus the age of the formation of the artist’s culture.
Popular hut technology
Interpretation of some Gobekli Tepe pillar art features, is informed by a Kurdish stele with relief engravings (after HPG. Xakk.org. Mindprint labels and axial grid by Edmond Furter). Compare the three levels of rooms, to three-layered Inana temple huts. Birds above and below recall bird navigators for Noah’s ark. Birds were important scouts of land and vegetation re-emerging in the Younger Dryas thaw. The bird below left perches on a T-shaped pillar, as at Gobekli. Here it expresses type 7 Sagittarius, its head over a reed bundle or rope (of type 7). 11 Virgo is a bird egg, and bird womb (87%). People in the middle register each have a bench, as in Gobekli houses.
* See papers on Gobekli Tepe art and bulidings, and the implications for science and culture, on http://www.stoneprint.wordpress.com and related papers in the anthropology journal Expression, volume 9, 10, 13, 14, 15, Atelier Etno, Italy.
* See an article on Gobekli Tepe pillar art structural analysis, in context with classical, modern, and rock art, and in context with scientific testability, on Grahamhancock.com, under Articles; Author of the Month, September 2015.
* See a paper on structural analyses of Matobo region rock art, presented at the ASAPA conference in Harare, Zimbabwe, 2015 (UZ, in press for 2017).
* See structural art analysis method, in context with philosophy, structural anthropology, depth psychology, and art history, with 200 demonstrations, in Furter, ED, 2014 Mindprint, the subconscious art code, Lulu.com, USA.
* Order the book Stoneprint (2016) via edmondfurter at gmail dot com.