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Mindprint in ayahuasca art

Archetypal structure or mindprint in ayahuasca art

Here are some examples of the standard typology, sequence, and axial structure (see Furter 2014; Mindprint) in ayahuasca art.

Here are some examples of the standard mindprint typology, sequence, and axial structure, in ayahuasca art, or artworks styled after ayahuasca visions; compared to five Lapp shamanic drums.

An Age Aquarius world skambha

Pablo Amaringo; Spinning dome. Mindprint labels and axial grid by Edmond Furter.

Pablo Amaringo; Spinning dome (after http://www.grahamhancock.com. Mindprint labels and axial grid by Edmond Furter, updated 2019). A dome with geometric texture and various colours, indicates entry to visionary hyperspace, typical of oto-visual emissions by the visual cortex and other brain functions, if stimulated by certain practices or chemicals. All experience is indirect, via senses, nervous system, and the brain, thus internal experience seems as real as conventional ‘reality’. Some oto-visuals and sensations agree with archetypal features that artists in all places and times, subconsciously express in complex artworks.

Type Label; Character (archetypal features):

1 Builder; Water angel D (twist, bird, spring, rain, cluster).

2 Builder; Water angel C (twist, bird, spring, rain, cluster).

2c Basket; Crowd (cluster) on the cliff at left.

3 Queen; Water angel B as rain (queen?, spring, pool).

3 QueenB; Rain? Dragon?

4 King; Water angel A as cloud.

5a Priest; Ritualist B (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).

5b Priest; Ritualist C (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).

5c Basket Tail; Feather B (weave, tail). And sunburst (disc).

6 Exile; Ritualist D. And angel B on a vine trunk (tree), far out (egress).

7 Child; Water angel E as cloud (bag, unfold).

7g Gal.Centre; Water angel F at waterfall (water).

8 Healer; Hermit? under waterfall (heal, trance).

9 Healer; Waterfall head (bent forward?, heal, trance).

9c Basket Lid; Crowd on plain at vine trunk (pillar, snake) of angel B (leglink).

10 Teacher; Crowd member far right (council, ecology, school).

11 Womb; Crowd woman’s midriff (womb).

12 Heart; Man in green spinning a dome (rounded). And his chest (heart). And man in blue. And his chest (heart).

13 Heart; Levitator’s chest (heart), over dome (rounded), over a roof (‘invert’, angel). And dome (rounded, interior).

13c Basket Head; Spinning dome (oracle, hat, lid, weave). And ayahuasca pot (tree, oracle). And person D at broken pots (death, of 13).

14 Mixer; Person C, further out (egress).

15 Maker; Person B, with A (doubled).

15g Gal.Gate; Person A.

Axial centre; Wrist grip (limb joints).

04p Gal.S.Pole; Ritualist A’s jaw (limb joint).

11p Gal.Pole; Crowd woman’s hand? (limb joint).

Cel. Pole or Midsummer; Levitator’s jaw (limb joint). Cel. South Pole or Midwinter; unmarked. The solstice axle is on the vertical plane, confirming midsummer in 13-14, analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. But the top central position of types 5, analogous to Aquarius, and the general themes of types 5v13, indicate that the time-frame may not express the spring point as usual, but the Age Aquarius midsummer point, which is in Taurus. This subtle iconographic ‘slippage’ may indicate that the usual Taurean time-frame of works themed on transformation and alchemy, may in future be moved to an Aquarian time-frame.

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

General themes in Pablo Amaringo’s cosmic vision of a spinning dome, many-coloured cover, or skambha, are indicated by extra features of type 5 Priest, typical of colours, priests, hyper-activity, tailcoats or sashes (here feathers), assembly (here rituals, and crowds), water (here waterfalls and pots), reptile (here serpentine forms), winged (here angels); and of the opposite type 13 Heart, typical of death (here broken pots on the left), rounded (here the top, and pots), waterwork (here waterfalls), and angel (here angels, and feathered priests). Icelandic cosmology myth used similar icons in epic poetry (De Santillana 1969).

Type 13 Heart or Leo is levitating in the lotus position, a feature more usual at its opposite, 5b Priest or Aquarius. Icelandic myths of a ‘many-coloured cover’ and salt mill (reviewed by De Santillana and Von Deschend in Hamlet’s mill), here churn in dayglow colours. The equator of eyes forms an outline of butterfly wings, incidental with the theme of transformation and flickering motion.

Symmetry in the equator, named ecliptic in this study for convenience, is uncommon in art, and usually subtracts from galactic symmetry, as it does here, as if expression were projected through either one or the other.

UPDATE; See my 2019 May article on how ayahuasca art confirms mindprint, on https://dmttimes.com/blog/2019/5/30/ayahuasca-artists-express-universal-meaning

An Age Aquarius world tree

Lapp cosmology trance drum (archetypal social function labels and axial grid by Edmond Furter).

Type 5b Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Archetypal labels and axial grid by Edmond Furter). The drum cosmogram healing and trance tradition had updated its visions with Christian elements, but the cosmic tree is rooted between 4 King or Pisces, and 5 Priest or Aquarius, as spring now is, in our current axial era.

Here the flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era. The ritual officials are named Juksakka, Sakarakka and Madderakka. Their fish pond or ice fishing hole has an astronomy counterpart in 5 Priest or Aquarius, decan Pegasus, here displaced to the 2c Basket position (see a Roman sarcophagus in Mindprint Chapter 11), the only sequence irregularity in the work. See Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill (De Santillana and Von Deschend; Hamlet’s mill).

Type 10 Teacher or Libra here is a tree or branch, as it is in a South African Amatola work (see Mindprint examples in chapter 5), but branches are more usual at its cardinals, 14 Mixer or Cancer, and at 6 Exile or Capricornus (see Egyptian and Mexican palettes, and the Externsteine carving, in Mindprint examples in chapter 4).

Lapp shamanic drums, Minusinsk variants (cosmology labels and axial grids by Edmond Furter). Each is different, but the structuralist features of character and spatial design are the same as in all culture and eras. The designs are not star maps or calendars, and could not be used as such. Blue ovals indicate one of two curves of limb joints, analogous to the galactic equator. These are unusually symmetrical in these drums, partly due to the round format. Subconscious expression of universal structure is sustained by archetypal inspiration. Each design is equally original, despite some borrowings from other artists, media, and cultures.

This study adopts the principle that there is no limit to what artists, and thus all people, subconsciously know; and that language, art, music and conscious or semi-conscious symbolic codes are all inadequate to fully express human experience. Structuralist analysis now raises about 100 optional features to conscious understanding; of which an average of about 60 (40 to 75) are expressed in complex works.

Individual experience could only partly comprehend nature or archetype. Display of art supports the human need to express, create, celebrate and share inspiration, cast in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, are as adequate or inadequate as any myth or art could be.

Celestial polar markers on a calibrated ladder, as a gauge, tag a series of Ages, up to the hand of the central celebrant and the hand of World man (yet another 5b Priest or Aquarius stand-in) at the Age Aquarius start, perhaps an error due to the offset galactic register (level), or an inspiration of our immanent iconographic future. This is one of very few works in this study probably tagged to Age Aquarius.

Angels pulling spring into Aquarius

Pablo Amaringo; (Ayahuasca hut and vision of angels and tutors). Mindprint labels and grid added by Edmond Furter 2011.
Pablo Amaringo; Ayahuasca hut with vision of angels, tutors and a snake in the field (cosmology labels with archetypal numbers, and axial grid by Edmond Furter 2011).

Type 7g Galactic Centre is expressed centre left, as two globes and a tutelary spirit pointing to a scroll. Parts of the features analogous to the cosmic galactic equators across the sphere (forming a fish shape), are marked by a string of angels in a horizontal S shape, as if figuring half of the one half, then half of the other half, in turn. Their central S-shaped flip section also mark midsummer, and thus celestial polar positions in a gauge from the Leo axis on the vertical plane (thus Age Taurus spring), through Cancer (Age Aries spring), Gemini (Age Pisces spring), to the first Taurus axis on the horizontal plane (Age Aquarius spring, slightly ‘prophetic’ for the work, but typical of ayahuasca visions).

Type 5a Priest or Aquarius is a focal group in the ayahuasca brewing hut, as a spring marker. 12 Heart or Leo is a lion (top centre), taking the place of the usual 1 Builder or Taurus bull of most mindprints and of alchemy of the last 6000 years. 1 Builder or Taurus with its gate and churn, here is a grail (mid right) dragged from 12 Heart or Leo, decan Crater (Grail). The summer sun and celestial poles are also dragged from 12 Heart or Leo, to 1 Builder or Taurus.

Type 8 Healer or Scorpius, formerly an eagle, now acquires the Aquarian angel. 4 King or Pisces is a snake with reared head, formerly of 3 Queen or Aries, adding the smaller cog change of about 30 degrees as the spring equinox is about to move from Pisces into Aquarius. 3 Queen or Aries becomes devoid of cosmic drama, here just six children in a pool (the seventh invisible), a former 2 Builder or Taurus, decan Pleiades icon. The two Amaringo snake paintings in this study express sweeping forthcoming Age Aquarius iconographic adjustments, each artwork using different figures and orientations to do so.

Pablo Amaringo (city and fields). Mindprint labelling and axes added by Edmond Furter 2012.
Pablo Amaringo; City and fields (after http://www.grahamhancock.com. Cosmology labels and axial grid Edmond Furter, 2012).

[Caption to follow….]

See an adjacent post on mindprint in peyote or mescaline art.

Art does not come from drugs, and art does not come from number, myth, decans, zodiacs or any media in particular.

See more examples of how the mindprint list of types, and the irregular axial ocular (eye to eye) grid, are used to raise the subconscious structure of visual expression within reach of conscious understanding; www.edmondfurter.wordpress.com

See an article about mindprint in Ice Age and Gobekli Tepe art, on www.grahamhancock.com under Author of the Month, September 2015.

Order the book Mindprint (Furter, E. 2014) from Lulu.com; 200 illustrations demonstrating the identical visual ‘grammar’ or ‘cultural DNA’, in all the known cultures and eras of the world.

Building sites express the same structure

See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at www.stoneprint.wordpress.com

My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar is innate, and readable in all our works, including building sites.]

By Edmond Furter

Edmond Furter wrote the book Mindprint, the subconscious art code (2014, Lulu.com), to demonstrate five layers of recurrent features in 200 artworks of all cultures and Ages, revealing the archetypal core content of culture. His second book, Stoneprint, the human code in art, buildings and cities (2016, Four Equators Media), expands demonstrations of the subconscious expression of archetypal structure to houses, temples, monuments, pyramid fields, geoglyphs, villages, cities and regions. The same structure also appears in mythology, such as Babylonian building rituals; and in reflexology points in our hands and irises, thus in nature. Stoneprint also demonstrates that the periodic table is a kind of natural 'culture', and that culture is a natural 'species' of behaviour. The structure in our works is as rigorous as grammar or DNA.
The books Mindprint, and Stoneprint, and editions of the structuralist anthropology periodical, Stoneprint Journal (some of which are available on Lulu.com), draw on extensive research in iconography, archaeology, history, esoterica, astronomy, art history and structuralist anthropology, spanning 26 years.
The core content of culture includes about 100 recurrent features of the sixteen main types, their sequence, five polar markers, and a time-frame orientation, that nature, individuals and societies subconsciously and compulsively express in all media. The mindprint or stoneprint model of structuralist anthropology has several major implications for all the human sciences, and offers a theoretical bases for a holistic approach to the study of the cultural record. Edmond Furter works as a freelance researcher and editor in Johannesburg.
Order the book Mindprint at $30, or the book Stoneprint at $30, or editions of Stoneprint Journal at $5, plus postage, on edmondfurter at gmail dot com; or Mindprint, or Stoneprint Journal editions on Lulu.com

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