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Egyptian art analysis

Egyptian art analysis; Hierakonpolis tomb 100 mural

Here is a structuralist art analysis to test the universal standard of subconscious expression, named mindprint, against the Hierakonpolis tomb 100 mural painting.

Egyptian art analysis using the mindprint structure, reveals three adjacent expressions of the standard, universal, roughly oval sequence of typological characters, with their eyes on an axial grid; each with a tri-polar centre; oriented relative to the age of the cultural framework. From Mindprint, p220-221. Compare to a Naqada pot rollout on p126, and to Cyril Coetzee's T'Kama Adamastor, which also has a triple imprint. Artists are not aware of the structure or 'grammar' or visual expression.
Structuralist art analysis using the mindprint model, reveals three adjacent expressions of the standard, universal, roughly oval sequence of typological characters, with their eyes on an axial grid; each with a tri-polar centre; oriented relative to the age or cultural framework of the artist. After Furter 2014; Mindprint, p220-221. Compare to a Naqada pot rollout on p126, and to Cyril Coetzee’s T’Kama Adamastor, which also has a triple imprint. Artists are not aware of the structure or ‘grammar’ or visual expression.

Three chapters in an Exodus

Here type 13 Heart or Leo, and its opposite, type 5b Priest or Aquarius, are both lions (felid is a recurrent feature on this type axis). These lions happen to be the ‘gears’ linking the triple imprint in the Egyptian Nekhen mural in Hierakonpolis tomb 100 (now in Cairo Museum). Shared ‘galactic’ equators also link the three spheres in a semi-symmetrical chain. Imprints ‘geared’ near one of the galactic poles, allow this kind of interlink (see the Palenque Lid structuralist analysis in Mindprint, also in another post on this website, or with many other examples on http://www.edmondfurter.wordpress.com)
In the left sphere, type 8 Healer or Scorpius, analogous to the hour decans Ophiuchus and Serpens Cauda (Snake Holder and Snake Tail), are expressed as a lion tamer, or feat of strength, a feature of type 8/9 Healer or Scorpius in 31% of artworks worldwide on average. These averages are as fixed as the optional set of features that artists subconsciously express, thus only archetypal inspiration could explain the rigorous rules of recurrent features in cultural media. This kind of churn group icon more often appears at type 15g, axially opposite the lion on the left (as it does in the Egyptian Gebel al Arak knife analysis included in the book Mindprint).
Type 10 Teacher or Libra as an antelope has a rearing neck, more typical of its opposite at type 3 Queen or Aries. Type 10 is under an antelope carousel, a wheel of fortune emblem, labelled a heraldic group in archaeology.
Type 3 Queen or Aries has a palm branch (staff is more typical of type 10) and boathouse (throne).
Type 11 Womb or Virgo axis is on a slaughter victim’s midriff (womb) instead of an eye, a regular ‘exception’ found in 87% of artworks, adjacent to type 12/13 Heart with its axis on a chest in 85% of artworks worldwide. These two quirks are among the unwritten rules of subconscious expression of archetypal structure, which incidentally hides the spatial structure from conscious view, until demonstrated by axial lines.
Polar features place the analogous ‘spring’ point in type 1 /2 Taurus, tagging the inspiration with the time-frame of Age Taurus, incidental with archaeological dating of this mural in the centuries after about BC 3500. The work is usually younger than the Age indicator.
In the central sphere, type 7g or Galactic Centre is a boathouse palm branch, although boathouse shrines are more often expressed at types 1 Builder or 15 Maker (as is is here in the left sphere) or 7 Child (7-15 are axial opposites). These types all flank galactic features, indicating that boat shrines function as a kind of churn group. In the right sphere, type 7g or Galactic Centre is again a boathouse.
Astronomical co-incidences are due to archetypal inspiration. Coherent sets of archetypes resemble one another, and appear to derive from one another, but each derive independently from inspired expression of the structure of archetype, energy-matter interchange, nature, perception, culture and meaning itself. Behaviour is inherent, not invented, and does not evolve. Only styling fads change to enable appropriation and to sustain socio-economic peer groups.

  • See structuralist analyses of artworks, rock art works, building sites, sets of icons, and alphabets, in Mindprint (Lulu.com), or in Stoneprint Journal editions (Lulu.com), or order the book Stoneprint from edmondfurter at gmail dot com at $30 plus postage from South Africa.

Here are some details of the three sectors of the Hierakonpols Nekhen tomb mural;

Egyptian art analysis, testing the universal mindprint structure in a predynastic mural at Hierakonpolis, tomb 100 or Nekhen mural. From Mindprint p220.
Structuralist art analysis of the universal mindprint model against a predynastic mural at Hierakonpolis, tomb 100 or Nekhen mural, left imprint. After Furter 2014; Mindprint p220.
Egypitian art analysis; demonstrating the universal subconscious mindprint structure of expression, in the Hierakonpolis tomb 100 mural, right half. From Mindprint p221.
Structuralist art analysis of the universal subconscious mindprint model, against the Hierakonpolis tomb 100 mural, right half. After Furter 2014; Mindprint p221.