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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
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Archetypal structure in mushroom or psilocybin art and fairy art

Archetypal structure in mushroom or psilocybin art and fairy art

Below are some examples of archetypal structure or mindprint ‘grammar’ in mushroom or psilocybin art, and in fairy art. And sugar and chocolate art. Psychedelic art is entertaining.

The subject and styling of mushrooms art, fairies art, and sugar candy art, are often commercialised, but offers yet another test of the claims I make in the book Mindprint (Furter, 2014. Lulu.com). Mayan chocolate art offers an apparently more serious, but equally valid test. Each claim has important implications for several sciences, and for popular culture;

[] the standard set of typology features (certain postures; and items such as staffs, bags, ropes) occur at set average frequencies in complex artworks;

[] and they appear in a standard sequence (analogous to seasons, and the myth cycle in hour decans and the zodiac);

[] and the eyes of the typological characters are always opposite their complementary types on an axial grid;

[] and five polar features, usually marked by limb joints, express a temporal framework analogous to precessional Ages;

[] Artists are unaware of the complex structure of visual expression, which is inspired by the collective subconscious;

[] Artworks containing more than eleven characters, all express the mindprint structure, irrespective of place, culture, Age, era, or mind-altering substances (see mindprint in peyote or mescaline art, and mindprint in ayahuasca art, on adjacent pages; see examples of Ice Age, Gobekli Tepe, ancient, classical, political, decorative, modern, ‘academic’, famous, amateur, and rock art, on www.edmondfurter.wordpress.com and 200 diverse examples in the book from Lulu.com);

[] The mindprint structure depends on inspired eye-hand-mind co-ordination;

[] The structure does not appear in photographs, or in art made by mechanical means.

If these claims are true, then the standard set of labels, and axial lines and types, should also appear in complex commercial art, and sketchbooks, and not in photographs such as the Cottingly fairies photos (probably of paper sketch cut-outs), or fancy dress photos.

‘Shrooms (John Emmanuel Shannon. Mindprint labelling, axes, and analysis added by Edmond Furter).
‘Shrooms (John Emmanuel Shannon. Cosmo labels and axial grid added by Edmond Furter).

 

Every mushroom person has a story

Type labels; Characters in the Shannon artwork (noting archetypal features):

02 Builder or Taurus; Mushroom person twisted (twisted, not accounted here since several stems seem to be twisted).

02c Basket; An ‘extra’ mushroom-person.

03 Queen or Aries; Long bent mushroom-person (neck long or bent, not accounted here since these features abound).

04 King or Pisces; Mushroom person.

05a Priest or Aquarius; Other eye of the same mushroom person (varicoloured, large).

05b Priest or Aquarius; Blue-topped (varicoloured), large head (large) mushroom person. And a small flying (hyperactive) angel (angel).

06 Exile or Capricornus; Far from the centre (egress).

07 Child or Sagittarius; Mushroom person without ‘head’ membrane (juvenile?).

08 Healer or Scorpius; Bent forward, same character as 9 (bent forward, not counted here).

09 Healer or Scorpius; Bent forward (bent, not accounted here).

09c Basket Lid; On overhanging pod skin (container).

10 Teacher or Libra; Mushroom person frontal.

11 Womb or Virgo; Mushroom person stem (womb. Circle added).

11p Galactic Pole; Stem-pod joint (limb joint).

12 Heart or Leo; Mushroom person chest (heart, a circle added here).

13 Heart or Leo; Mushroom person.

14 Mixer or Cancer; Mushroom near the centre (ingress).

15 Maker or Gemini; Mushroom pod with a leaf (rope, not accounted here), without an eye (bag).

The ecliptic poles are both at the axial hub, on a stem-pod junction (limb joint). The celestial pole is on 14’s jaw (limb joint). The celestial poles are on the vertical plane (orientation), here near the Cancer-Capricornus axis, tagging the time-frame of Age Aries, our preceding Age, as most artworks have been during the last 2100 years of Age Pisces. Age Aquarius started in 2016 (as demonstrated in Mindprint, published in 2014). Some artworks have already expressed the transitional time-frame of Age Pisces-Aquarius.

Midsummer sun in the gate; on the ecliptic (horizontal line) where the galactic equator (oblique line) crosses. This event occurs in June 2016. While midsummer precesses from Gemini (on the right) to Taurus (on the left), the spring equinox crosses from Pisces to Aquarius, starting Age Aquarius in 2016.
An Age update; The midsummer sun in the 15g Gate; on the ecliptic (horizontal line) where the galactic equator (oblique line) crosses. This event occured in June 2016 (Skychart, set to June 2016). While midsummer precessed from Gemini (on the right) to Taurus (on the left), the spring equinox crossed from Pisces to Aquarius, thus starting Age Aquarius in 2016. The star map is in ecliptic projection, with borderlines based on the two eternal galactic gates.

There are many kinds of people recognised in art and rock art studies, such as swift people (swift-humans), karos or coat or bag people, therianthropes (animal people, such as lion people, antelope people), veganthropes (tree people, flower people, mushroom people), geoanthropes (geometric shape figures; P-people, X-people), and so on. A list of ‘kinds’ (not to be confused with types), is given in the book Mindprint.

Mushroom people are rare, but known in rock art, as in an engraving in Egypt at El Hosh, and at Tassili in the Sahara, and perhaps on a female initiation rock pavement at Driekops Eiland in South Africa. Mindprint analysis could not make any value judgement of artistic technique or styling, only indicate the relative complexity of the inherent structure and typology. In these terms, most famous and many novice artworks have more or less the same complexity. Artworks typically contain 60 of 100 predicted features, each in apparently different figures and designs, until the core content is isolated and compared to reveal the inherent structure.

Fairies, gnomes, weed, mushrooms (Squareup. Border cropped off for clarity. Mindprint labels and axes added by Edmond Furter).
Fairies, gnomes, weed, mushrooms (Squareup. Border cropped off for clarity. Cosmo labels and axial grid by Edmond Furter).

 

All together now

Type labels; Characters in a Squareup artwork (noting archetypal features):

01 Builder or Taurus; Tree gnome twisted (twisted).

02 Builder or Taurus; Tree gnome (decan Perseus, sometimes at a tree of life. See Tarot trump 17, Star, at a tree and a phoenix).

02c Basket; A tree fairy.

03 Queen or Aries; A fairy, facing backward (neck long or bent).

04 King or Pisces; Caterpillar squatting (squat).

04p Galactic south pole; Two water bubbles (juncture, spout).

05a Priest or Aquarius; Gnome on a halo (varicoloured, hyperactive).

05b Priest or Aquarius; Halo person (varicoloured, large).

06 Exile or Capricornus; A planet, near the centre (ingress). And a halo person (tree?).

07 Child or Sagittarius; Mushroom person (bag) with a bag (bag) on a sling (rope).

08 Healer or Scorpius; ?

09 Healer or Scorpius; Wise gnome (healer?).

09c Basket Lid; Gnome with a large beard.

10 Teacher or Libra; Wizard gnome.

11 Womb or Virgo; Tortoise womb (womb).

11p Galactic pole; Wagon hinge (limb joint).

12 Heart or Leo; Gnome sitting flat.

13 Heart or Leo; Gnome heart (heart).

14 Mixer or Cancer; Gnome with a jug (see Tarot trump 14, Temperance).

15 Maker or Gemini; Gnome with a tool (smiter, sceptre), near twins (doubled). And another gnome (doubled), smiting (smiter).

The axial centre is on a fairy foot? (limb joint). The celestial pole is on type 15’s hand (limb joint). The celestial south pole is on a rabbit hip (limb joint), on the horizontal plane (orientation), tagging for spring and the the temporal framework in Age Aries-Pisces, before the work as usual worldwide.

Fairies, gnomes and plant ‘people’ are like the jinni (singular; jinn) in Arabic and Asian folklore; indwelling in nature, and subject to angels and gods (see Geoffrey Hodson; Land of the Gods. Theosophical Society press). They seem less important in myth than gods and heroes, but some artists take them seriously.

Psilocybin mushrooms (Arcann, on DeviantArt. Mindprint labelling and axes added by Edmond Furter).
Psilocybin mushrooms (Arcann, on DeviantArt. Cosmo labels and axial grid by Edmond Furter).

Art of our time

Type labels ; Characters in an Arcann mushroom-styled artwork (noting archetypal features):

02 Builder or Taurus; Flower (cluster), twisting (twisted).

02c Basket; Bonsai plant halo.

03 Queen or Aries; Antelope with large ears.

 

04 King or Pisces; Goldfish (fish), in a bowl (decan Pegaus pond).

04p Gal.S.Pole; Shoulder (limb joint).

05b Priest or Aquarius; Student (science) in blue, red, white stripes (varicoloured, large).

06 Exile or Capricornus; Goldfish (fish tail) near the pole (ingress).

07 Child or Sagittarius; Bag or rag or flag (bag), NO EYE, but allowed at type 7, since it is often a bag or unfolding organism. Lack of an eye is compensated for by the extra bird in the top corner, whose eye does not have an axial opposite.

09 Healer or Scorpius; Rat reaching forward (bent) with a strong arm (strong).

10 Teacher or Libra; Concentric circles (wheel).

11 Galactic pole; Branch fork (juncture).

11 Womb or Virgo; Robot’s womb (womb).

13 Heart or Leo; Antelope heart (heart).

14 Mixer or Cancer; Rocket, far from the centre (egress).

15 Maker or Gemini; Ape-man on a branch (rope).

15g Gate; Flowing branch (juncture).

The axial centre is unmarked a usual. The celestial pole is on an antelope hip (limb joint), vertical to the axial centre (orientation), indicating spring and the temporal framework of Age Pisces-Aquarius, the current era. Age Aquarius started in 2016, but some artworks, particularly in experimental styling, already expressed the transitional era some years before.

This styling is associated with ayahuasca and trance vision in general. Artistic inspiration is a natural gift, improved by practice, and is not gained or enhanced by any drugs.

To sleep, perchance to dream at a healing pillar

A Greek T-shaped healing pillar in a votive relief to healing god Asklepios, shows a doctor treating a patient, then the doctor sleeps below a T-shaped pillar to receive a healing dream, and the patient is healed (BC 350. Athens National Museum).

A Greek T-shaped healing pillar in a votive relief to healing god Asklepios, shows a doctor treating a patient, then the doctor sleeps below a T-shaped pillar to receive a healing dream, and the patient is healed (BC 350. Athens National Museum).

The Greek healing pillar is a conventional signboard shape, which incidentally resembles Gobekli Tepe T-shaped pillars (see an article on Grahamhancock.com, under Author of the Month, September 2015), and all horizontal-vertical junctions, such as T-O, or (T) maps. Asklepios expresses type 8/9 Healer or Scorpius. In art he is often shown bent forward, in trance, leaning on a stick or two sticks, sometimes at or with a pillar (see Tarot trump 9, Hermit, leaning on two staffs; and trump 8, Strength, sometimes with a broken pillar. The same emblematic motif appears in many San Bushman paintings, art and rock art worldwide). Here the bent attribute is in the reclining posture; the staff is visible below his clothing; and the trance attribute is in the implied healing. Two all-seeing eyes frame the top of the engraving. Healers are herbalists. Most healers go into trance naturally, or from certain rituals. Drugs do not induce ‘clean’ or healing trance states. As San Bushmen say, ‘cannabis does not lead to God’. All cultures use pillars, stelae, engravings, inscriptions, art, talismans and sigils in aid of personal and social healing in the general sense.

Mayan chocolate ritual art analysis

Mayan stele carving with a scene of the chocolate tree god, and chocolate ritual. Mindprint labels and axial grid added by Edmond Furter, 2014. Compare this celebration of an American stimulant, with candy and mushroom art. To complete a structural analysis of this artwork, study the characters, and their attributes, and use the standardised caption format at the end of this post. Clue; t11 Virgo is always on a womb; t12 or t13 Leo is always on a heart; t5 Aquarius sometimes has an extra tailcoat head; arms in V-shaped or W-shaped posture are usually at t10 Libra and/or t9 Scorpius; t3 Aries Cista Mystica is often a woven shape, such as branches; t10 Libra Cista Lid is often hidden, such as roots, or revelation; t1 or t2 Taurus is sometimes a bird in a tree; t15 Gemini usually has a rope (see the average likelyhood of some attributes in the typology list).
Mayan stele carving with a scene of the chocolate tree god, and chocolate ritual. Cosmo labels and axial grid by Edmond Furter, 2014. Compare this celebration of an American stimulant, with candy and mushroom art. To complete a structural analysis of this artwork, study the characters, and their attributes, and use the standardised caption format at the end of this post.     Clue; type 11 Womb or Virgo is always on a womb; 12/13 Heart or Leo is always on a heart; 5 Priest or Aquarius sometimes has an extra tailcoat head; arms in V-shaped or W-shaped posture are usually at 10 Teacher or Libra and/or 9 Healer or Scorpius; 2c Basket is often a woven shape, such as branches; 9c Basket Lid is often hidden, such as roots, or revelation; 1/2 Builder or Taurus is sometimes a bird in a tree; 15 Maker or Gemini usually has a rope (see the average likelyhood of features in the typology list in some other posts).

 

 

 

 

 

 

 

Candy Land game board for Hasbro (Caram Law. Mindprint labels and ocular axes added by Edmond Furter).

Candy Land game board for Hasbro (Caram Law. Cosmo labels and ocular axes added by Edmond Furter).

Up the walls and over the top

Type labels; Characters in a Caram Law sugar-styled artwork (noting archetypal features):

01 Builder or Taurus; Lime-person.

02 Builder or Taurus; Sugar fairy in twisted pose (twisted).

02c Basket; Sugar mountain cave.

03 Queen or Aries; Ball head below a tall cone (neck long or bent). White faces are more typical at 15.

04 King or Pisces; Pudding person dancing.

04p Gal.S.Pole; Pirate skull jaw (limb joint).

05a Priest or Aquarius; Two pudding people on the same axis.

05b Priest or Aquarius; Gingerbread person (varicoloured).

06 Exile or Capricornus; Pirate frog near the centre (ingress).

07 Child or Sagittarius; Candy ball person (bag).

08 Healer or Scorpius; Candy man at a pillar (pillar).

09 Healer or Scorpius; Candy platform on a pillar (large, pillar).

10 Teacher or Libra; Pirate, posture unclear (arms up? staff?).

11 Womb or Virgo; Faceless lolly stick, axis on its body (womb).

11p Galactic pole; Sugar girl’s foot (limb joint).

12 Heart or Leo; Sugar girl’s chest (heart, more usually male).

13 Heart or Leo; Lollypop.

14 Mixer or Cancer; Lime-person, nearer the centre (ingress).

15 Maker or Gemini; Cone-person with a cane (sceptre).

The ecliptic poles are at the axial hub on a ship mast crow’s nest (juncture). The celestial pole is on an X-marker (juncture). The celestial south pole is on the ship’s wheel (juncture). The polar triangles and the vertical plane (orientation) indicate that the artwork is expressed in the temporal framework of Age Aries-Pisces, as many works of the Renaissance were.

Magic mushroom land (Caram Law. Mindprint labels and axes added by Edmond Furter).
Magic mushroom land (Caram Law. Cosmo labels and axial grid by Edmond Furter).

Mushroom child art analylsis;

jingles are big business

Type labels, Characters in a Caram Law artwork (noting archetypal features):

01 Builder or Taurus; Large star-person.

02 Builder or Taurus; Star-person.

03 Queen or Aries; Mushroom smurf eye.

04 King or Pisces; Mushroom smurf eye.

04p Galactic south pole; Foot (limb joint).

05a Priest or Aquarius; Ball person face, on a large blue mushroom (varicoloured, large).

05b Priest or Aquarius; Large varicoloured ball person (varicoloured, large).

06 Exile or Capricornus; Mushroom puppy, far from the centre (egress).

07 Child or Sagittarius; Mushroom pod person (bag) with a rope (rope).

08 Healer or Scorpius; Large (large) child.

09 Healer or Scorpius; Large (large) child, her other eye, legs drawn up (bent forward?, large) on a mushroom (pillar).

10 Teacher or Libra; Mushroom baby.

11 Womb or Virgo; Finger stem person’s womb (womb).

11p Galactic pole; Finger joint (limb joint).

12 Heart or Leo; Striped mushroom finger stem person’s heart (heart).

13 Heart or Leo; Bauble person.

14 Mixer Cancer; Bauble-person, as tree decoration (tree).

15 Maker Gemini; Star-person on a rainbow (rope?).

The ecliptic poles are both at the axial hub on a bow knot (juncture). The celestial poles are unmarked, and may be are on the vertical plain, at the Taurus-Scorpius axes, indicating the forthcoming Taurus midsummer of Age Aquarius, that started in 2016.

Fairies sketch group (Mamorumi, on DeviantArt. Mindprint labels and axes added by Edmond Furter).
Fairies sketch group (Mamorumi, on DeviantArt. Cosmo labels and axes added by Edmond Furter).

Fairies art analysis;

A rough draft of old favourites

Type labels; Characters in a Mamorumi fairies artwork (noting archetypal features):

01 Builder or Taurus; Gnome puppy, looking backward (twisted).

02 Builder or Taurus; Central boy’s other eye.

02c Basket; Hair topknot? (weave).

03 Queen or Aries; Gnome. And the central boy.

04 King or Pisces; Elder gnome, a father.

05a Priest or Aquarius; Boy with dark hair, his other eye.

05b Priest or Aquarius; Boy with dark hair. And a gnome.

06 Exile or Capricornus; Elder gnome, near the pole (ingress).

07 Child or Sagittarius; Fairy face (unfolding).

08 Healer Scorpius; Bulky fairy (large or strong).

09 Healer or Scorpius; ‘Eye’ on a fairy wing (large).

09c Basket Lid; Fairy outline, wings up (arms up).

10 Teacher or Libra; Fairy girl.

11 Womb or Virgo; Fairy girl’s womb (womb).

11p Galactic pole; Fairy girl’s elbow, or knee, or elbow (limb joint).

12 Heart or Leo; Fairy girl’s lower chest (repetition of this feature on one chest is unusual).

13 Heart or Leo; Fairy girl’s upper chest (heart. More usually male).

13c Basket Head; Fairy girl with wings folded (weave).

14 Mixer or Cancer; Smaller fairy girl in flight.

15 Maker or Gemini; Gnome puppy’s other eye, baggy cheeks (bag).

The axial centre is unmarked, as usual. The celestial poles may be on the horizontal plane (orientation), here placing midsummer between Leo and Cancer, implying spring and the time-frame of the work as Age Taurus-Aries. Many alchemical works are expressed in the Age Taurus framework, and many spiritual works are expressed in the Age Aries framework. Most artworks express the prior Age, at the perceived time of the formation of the culture or tradition.

Fairy Tail group fancy dress photo (Saaraz on DeviantArt. A mindprint axes test by Edmond Furter reveals that the image is candid, and not an artwork).
Fairy Tail group fancy dress photo (Saaraz on DeviantArt). A typology and axial grid test reveals that the image is unstructured, and not an artwork. Drawing potential axes between more or less opposing characters in artworks, soon reveal one point where five or more axes cross; and reveal the one chest and one heart in the cycle.

Photo typology analysis: But it is not art

Characters in photographs are usually selected and arranged without archetypal inspiration. Despite a wide variety of recognisable legendary characters, their peripheral sequence does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only three potential axes meet in two or three different places on the photograph, consistent with the rules of chance for a cluster of similarly oriented bodies containing asymmetrical lucida (bright points). In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes at fixed average frequencies, and leaving only one or very few ‘extra’ figures outside the grid.

Mindprint could also be used to reveal errors in copies of rock art or artworks, however most artists who copy other works from memory, are likely to express a new mindprint (see Andrew’s copy of an Australian rock art work from memory, at http://www.edmondfurter.wordpress.com).

Cottingley fairy photograph (Iconic Photographs. Mindprint axes test added).
Cottingley fairy photograph (Iconic Photographs. A typology and axial test fails, since this image is not a work of art).

The famous Cottingley fairies photographs were probably made of sketchbook paper cutouts with textile wings. There are fewer than the required eleven characters here, but even if more were added, their attributes would probably be too similar, and their positioning too random, to express archetypal structure.

Portraits with fairies (PSP, York. Ocular axes test added)
Portraits with fairies (PSP, York. The typology and axial grid test fails).

 

Portraits with fairies (PSP, York, Ocular axes test added).
Portraits with fairies (PSP, York). The typology and axial grid test fails, despite using testing three potential wombs and two potential hearts. These standard ”exceptions’ are always adjacent in artworks.

Characters in photographs are usually selected and arranged without archetypal inspiration. The peripheral sequence usually does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only four potential axes meet in one point on the photograph. In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes.

Only the mind-eye-hand co-ordination of an artist could express archetypal structure in art, and then only if the conscious mind is occupied by the usual artistic concerns, leaving the subconscious free to impose the structure of perception and nature on the rock or canvas.

How to test structural art analysis

To do a structuralist art analysis test, or building site structuralist analysis test, use the standard set of labels to cut and paste next to typological characters in any complex artwork (containing eleven or more figures). The labels are given with opposite pairs above and below one another;

1Builder 2Builder 2cBasket 3Queen 4King 4p
8Healer 9Healer 9cLid 10Teacher 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13Heart 13cHead 14Mixer 15Maker 15g

 

cp csp ? ?

If you identify only twelve types (ten eyes, one heart, and one womb), then use only one the labels for types 2v9 (not 1v8), and 5b,v13 (not 5a,v12). See a more detailed guide to structuralist art analysis in the book Mindprint. Artworks containing only fourteen types, probably double one of these opposite pairs. Sixteen axes are more frequent, and some complex works double other types as well; or add separate characters to express polar features by their limb joints. In works containing more than about 26 characters, test for a possible double adjacent imprint, perhaps with a few characters shared by both cycles.

Use the table of features (in two other posts on this website, or more completely in the book Mindprint, or the book Stoneprint, or in recent editions of Stoneprint Journal) as a format for writing a caption to your structuralist analysis.

Ages are named after the spring position, which is always 90 degrees before midsummer or the celestial pole position. Both move backwards, or precess, against the constellation markers. Note that seasons, myths, rituals, icons, emblems, and artworks all express archetypal structure, and do not derive from one another. Even artworks that apparently illustrate a myth, a ritual, a season, a set of trumps, a procession, or a zodiac, also independently express archetypal structure.

References

See Edmond Furter; Mindprint (2014, Lulu.com) for a full discussion of the theoretical context of the philosophy and psychology of archetype and perception; and a critique and update of structural anthropology and cognitive archaeology; as well as a critique of the reasons why art history and esoterica have failed to identify mindprint, despite extensive research into gestalt perception and conceptualisation, and into ‘tacking’ between sets or categories of icons and meanings. The book also has tables detailing many more archetypal attributes (beyond the more obvious and high frequency attributes listed in the caption format), and 200 illustrations demonstrating how mindprint was discovered.

See an article on the archaeological implications of mindprint for rock art, in the global anthropology journal, Expressions, volume 9, p21-25, and in some other editions.

For more introductory detail, visit www.edmondfurter.wordpress.com

Built sites express the same structure

See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities 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.