Lively characters in a roundel on the back of an early Islamic Turkish metal mirror cast found in Iran, expresses the universal subconscious set of character features, sequence, polar markers, and time-frame orientation. General themes in the design include type 5 Priest or Aquarius (assembly, varicoloured, hyperactive, priest, tailcoat head); and type 6 Exile or Capricornus (polar, sacrifice, volute, horned, double-headed). Mirroring is repeated in a double-headed character (at 1); and two antithetical staffs; and subconscious doubling of four of the ‘single’ types; and in the metal cast itself.
Type; Character (archetypal features):
1 Builder or Taurus; Bauble A of bird-bull man (cluster), dancing (twisted).
3 Queen or AriesB; Two-headed staff (long or bent neck), antithetical (dragons).
4 King or Pisces; Eagle B (bird, twins) sitting (squatting) in a kiosk (rectangle).
5a Priest or Aquarius; Priest-king (assembly, varicoloured, priest).
5a Priest or AquariusB; Priest-king eye B (assembly, varicoloured, priest).
5b Priest or Aquarius; Eagle A (assembly, decan Aquila), looking back (inversion, of 12).
6 Exile or Capricornus; Dancer with cap (horned) presenting gift (sacrifice) at two-headed staff (volute).
6 Exile or CapricornusB; Dancer with cap (horned), presenting gift (sacrifice).
7 Child or Sagittarius; Centaur (rare), with bag.
9 Healer or Scorpius; Man-leopard?, arms back (bent forward, healer?).
10 Teacher or Libra; Tamer (guard, hunt master; or metallurgy), with bull-staff (staff).
10 Teacher or LibraB; Bull-staff (staff, carousel).
11 Womb or Virgo; Woman’s midriff (womb).
11p Gal.Pole: Woman’s knee (limb joint).
12 Heart or Leo; Lion (feline) chest (heart).
12 Heart or LeoB; Lion (feline) tamed (death).
13 Heart or Leo; Lion griffin (feline) chest (heart), broken hind leg (death; Ursa, foreleg).
13c BasketHead; Water snake (head, decan Hyda).
14 Mixer or Cancer; Dancer (dancer, not accounted here due to abundance).
14 Mixer or CancerB; Dancer B (dancer, not accounted here due to abundance).
15 Maker or Gemini; Gift (bag) of re-creator.
The celestial pole is on the design centre (rare), or unmarked. The celestial south pole is on a hand and knee, or a foot (limb joint). These options place ‘spring’ and the cultural time-frame in Age Taurus (bird-bull-man as equinox, and the main character as winter ritual); or Age Aries-Pisces (bird and two-headed staff near the top). The design continues some Age Taurus features (compare to Age Aries Egyptian palettes), but the artefact is Age Pisces, early Islamic medieval metalwork, before Islam banned figurative images. The uncertain time-frame expresses transition between tradition and reform.
Here are some examples of the subconscious mindprint in San Francisco art. Structural art analysis applies to any area, any culture, and any era, from the Ice Age to today.
I label and mark out the usual set of typological characters, in their standard sequence, with the eyes of opposite types on the usual ocular (eye to eye) axial grid, and with the the tri-polar structure of certain limb joints near the centre.
The prompt for this post was an internet radio interview on mindprint with Cliff Dunning of Earth Ancients, based in San Francisco.
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.
Structuralist analyses of illustrations in the books of this transmuter or alchemist, reveals many of the universal, collective subconscious typology of features, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by certain limb joints, relative to Age of the artist’s culture.
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.
Type labels; Characters in the Paradise design of Doctor Dahesh (noting archetypal features):
2 Builder or Taurus; Peacock (bird) in a tree (tree).
2c Basket; Branches (weave) from a truncated stump. See the Mayan cacao tree engraving at Izapa, in Mindprint.
3 Queen or Aries; Small bird.
4 King or Pisces; One of two (twins) swifts (birds. See Persian images of Pisces as birds flanking a field. See the Mayan Izapa engraving’s type 4 as birds).
4p Gal.S.Pole; A swift’s wing (limb joint).
5a Priest or Aquarius; A swift (hyperactive).
6 Exile or Capricornus; A nymph, nearest the centre (ingress), emerging from the tree (tree. See the Mayan Izapa engraving of a tree person). With an extra woman on the left.
7 Child or Sagittarius; A dark man or baby? (child) head outline, under hair (rope).
7g Galactic Centre; Water (water) where a nymph emerges.
9 Healer or Scorpius; Spotted deer (more often an antler).
10 Teacher or Libra; Antelope, next to a butterfly (arms up). Some additional figures are ‘determinants’ of adjacent figures.
11 Womb or Virgo; Eve’s abdomen (womb). The goose is a supporting ‘determinant’.
11p Galactic Pole; Adam’s shoulder (imb joint).
12 Heart or Leo; Adam and Eve, eyes obscured (invert).
13 Heart or Leo; Eve’s chest (heart).
14 Mixer or Cancer; A bird (bird).
15 Maker or Gemini; A peacock tail feather ‘eye’, sin of Pride.
The axial centre is unmarked as usual. The 6-14 axis is slightly off the axial centre, implying some rework of either character 6 or 14 (see rework in Blake’s Dante Meets Beatrice in Paradise, in Mindprint). 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 (juncture). The celestial south pole is on the horizontal plane (orientation). These markers place ‘summer’ in Leo-Cancer, implying 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 the culture of the artists, thus always one or two Ages prior to the work. Creation themes are usually framed in transitional eras.
The general theme in this Paradise scene could be type 10 Teacher or Libra, typical of nature-culture balance and abundance. 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.
Type labels; Characters in the Inferno design in a book by Doctor Dahesh (noting archetypal features):
1 Builder or Taurus; A devil on a pinnacle throne, sideways (twisted), horned? (bovid).
2c Basket; Souls entering hell (container) in a vortex stream (weave).
3 Queen or Aries; Fallen angel B.
4 King or Pisces; Fallen angel D, lashing souls.
4p Gal.S.Pole; Angel D’s shoulder (limb joint).
5a Priest or Aquarius; A purified soul emerging? (ascend).
6 Exile or Capricornus; A soul in torment (sacrifice or scapegoat).
7 Child or Sagittarius; Incarnated woman B.
8 Healer or Scorpius; A soul rising (strength).
9c Basket Lid; Abyss of hell (container).
10 Teacher or Libra; A soul with arms raised (arms up).
11 Womb or Virgo; Incarnated woman A’s abdomen (womb).
14 Mixer or Cancer; A soul escaping, against the stream?
15 Maker or Gemini; Fallen angel or devil A, near another (doubled), prodding souls (smite, churn) with a staff (sceptre). See Tarot trump 15, Devil, as a soul churner.
The axial centre is in the cave interior, but unmarked as usual. The celestial south pole is on a hip (limb joint), placing ‘winter’ in Capricornus-Sagittarius, thus ‘summer’ in Cancer-Gemini, implying ‘spring’ and the cultural time-frame in Age Aries-Pisces, about BC 80. The subconscious structure of any artwork 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 is type 15 Maker or Gemini (see Tarot trump 15, Devil, or worldly creator), and its opposite, type 7 Child or Sagittarius, often a formling or ‘buck bag’ of physical manifestation, next to the galactic vortex, here on the abyss of hell (see vortexes in Blake’s art, in Mindprint).
Doctor Dahesh worked miracles
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 Maker or Gemini, and its opposite, type 7 Child or Sagittarius.
Paradise trees are vertical vortexes (vortices, or churn groups in art), often expressed in the galactic gate between types 15 Maker or Gemini, and its adjacent type 1 Builder or Taurus, decan Auriga-Orion (here on a peacock tail of eyes).
Infernos are fire vortices, sometimes expressed at type 7g Galactic Centre lies, a little south-west of this gate. Rock art sometimes uses 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 analyses 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 ED 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
Here are some examples of type 12/13 Heart or Leo, one of which always (85% in all artworks, building sites and some other cultural media globally) has his axis to his chest instead of his eye, as the other types in the cycle of sixteen have. The heart is an inner eye, however archetypal features are subconscious, and do not follow conscious or conceptual logic.
See more examples in other posts (where this type is marked by the label [le12] and/or [le13]). Its place on the ocular (eye to eye) axial grid is always opposite type 5a/5b Priest or Aquarius.
Type 12/13 Heart or Leo is often felid (lion, tiger, puma); and/or inverted (particularly at type 12 Leo); and/or carries a weapon as a lord of life and death; and/or equid (horse, ambiguous with his opposite type 5 Priest or Aquarius).
An African Shiva in a cosmic battle
Type 13 Heart or Leo as the heart of a multi-headed hero or army general (South Africa, Albany Alb03 1r rock art panel. See multi-headed healers and horses in Indian art. In the myth map of constellations, this type equates with Leo and Ursa, both capable of forming horses. However art does not derive from constellations; both derive from archetypal inspiration, and therefore some of the features of myth, ritual, and art co-incide.
Some expressions borrow from others, as astronomy borrows from myth to name constellations, and astrology borrows from myth to interpret seasonal cycles. Visual expression is a function of an integrated set of concepts, and some are incidental with some of the variant stick figures that we animate among incidental dots in the moving sky.
Ursa offered a string of ‘heads’ along its back as polar markers during Age Taurus (see a lion with stars along its back in the Seti1 ceiling). Ursa was the initial polar torn-off foreleg, as summer to the former spring point at 1 Taurus Hyades (Bull face), and later at 2 Taurus Pleiades, a cluster of seven stars (a small foreleg). Type 14 Mixer or Cancer Ursa Minor took over the summer foreleg role in Age Aries, and by coincidence also has seven stars, as a smaller foreleg.
5b Priest or Aquarius here mirrors the posture of its opposite at 13.
A celestial polar marker on a hip, and on the horizontal plane, tag the inspiration to Age Pisces-Aquarius, our current era. However artworks are more often expressed within the temporal framework of the era preceding the artist, or the era when the current culture was formalised.
Sustained co-incidences of many attributes in art, myth, ritual and religion worldwide, due to archetypal inspiration, tempt the relevant sciences into looking for diffusion routes. Thus some academics, and many amateurs, see this multi-limbed figure as made by an Indian, or learned from Indians. Even if the artist had seen an image of a Shiva or a Kali, the attributes of this figure remain rooted in archetype. Hundreds of other examples of these attributes worldwide, such as the large weapon (10% average frequency in art worldwide); and the invisible (and subconsciously aligned) axis from its opposite type to its heart (85% average frequency in artworks worldwide); and the scythe of the emblematic figure of Death in Tarot trump 13; and the horse of similar emblems; and multi-legged horses in myth, such as Odin’s horse Sleipnir in Nordic culture; all indicate that similarities, even as complex as the four-layered mindprint structure, do not require diffusion, teaching, or learning. All cultures have equally complex myths, rituals, and art. Beneath apparent differences, and distinctive styling, the core content of cultural expression is identical.
Hearts and minds in a cosmic battle
Type 13 Heart or Leo as the chest (heart) of a multi-legged horse (equid) or army of a hero (Indian Asuras and Daityas seeking elixir. R Storm; Legends and myths of India, Egypt, China and Japan. Hermes House).
See flying antelope (aelites or flying buck) and flying horses in rock art. See Tarot trump 13 as death militant on a horse, and many similar emblems in calendric and other visual traditions.
A celestial pole on a covered foot tags the inspiration to Age Aries-Pisces, probably prior to the work, but indicating the era of the cultural reformation that re-formalised or appropriated the classical styling.
Type 12 Heart or Leo as the chest (heart) of the outer of four inverted (invert) figures, and the outer of four figures before the retro face of a double-headed leonine sphinx (felid), in a partially concentric, contra-rotating double imprint of decans on three registers (Egyptian Book of Caverns section 3, BC 1426. AG Shedid cited in Wim van den Dungen. Sofiatopia).
Decans are fairly simple and probably consciously recognised as hours, or reduced to twelve that could also signify months. Here the sequence is boustrophedon (as the ox ploughs, in alternating directions), with a few quirks.
Top register left to right;
3 Queen or Aries between two serpents, with the sun as a spring marker.
2 Builder or Taurus Pleiades as seven (cluster) bull men (bovid), with a former spring marker (spring).
1 Builder or Taurus as mummies (cluster) under mounds.
15g Galactic Gate as three shrines (juncture).
15 Maker or Gemini in a shrine with strings (rope) of ten mummies (churn).
Middle register right to left;
14 Mixer or Cancer group.
13 Heart or Leo group as a burial (death).
12 Heart or Leo group.
11 Womb or Virgo as the sphinx (felid) abdomen (womb).
10 Teacher or Libra as Amun (school) with a staff (staff).
Lower register oscillating;
Central; 9 Healer or Scorpius as a shrine snake.
8 Healer or Scorpius and 7g Galactic Centre as a snake (healer) shrine (juncture).
Right; 7 Child or Sagittarius as decapitated Ages (decapitated. See the Narmer palette in another post, and in more detail in Mindprint).
Left; 6 Exile or Capricornus as small supplicants (small).
Right; 5 Priest or Aquarius as large prisoners.
Left; 4 King or Pisces as large supplicants.
Centre. 4p Rectangle (juncture, rectangle, of 4).
The outer cycle of characters is clockwise, sharing four characters, from 2 to 14, with the other cycle; then following eight alternative features in already used characters, from 13 to 4, incidentally agreeing on types 8 and 6.
The inner cycle among characters in the lower two registers on the right, forms an independent anticlox sequence, agreeing with decans on types 14, 13, 12, 11, 10, then below on 9, 8, (not 7 or 6), 5, (not 4, 3, 2, 1, 15). Some groups have extra figures with relevant features at the ready. Outer and inner imprints converge on 14 and 9.
Dual identifications (the bottom centre figure here expresses three types) appear in several decanal sets (see Seti1’s ceiling, in Mindprint, and in another post). Decans are prone to great variety (as Neugebauer and Parker noted in their study of Egyptian decans. See also Aldred on this theme). Double imprints account for confusing variety among decanal sets. Some conscious genius may be scrambling inspiration here, as also practiced by legendising and historicising mythology and theology.
Decanal sets are examples of schooled inspiration, yet conscious and subconscious sequences live separate lives. No standard set of decans ever emerged.
Decanal art understates the attribute, sequence, structure, polar and orientation features of mindprint.
Celestial polar markers of the outer mindprint, on burial feet and a Sphinx elbow, tag the inspiration as Age Aries, incidental with the spring sun over decanal Aries. Celestial polar markers in the inner mindprint on an inverted foot and knee, confirm Age Aries.
* See a list of all the known features of the types, with 200 illustrations, in Mindprint by Edmond Furter (2014, Lulu.com).
Here are some examples of archetype 6 Exile or Capricornus, often expressing Pan, Kokpelli, Janus, a double-header, scapegoat, or sacrifice. It is one of the sixteen character types that all artists and societies express in their works and building sites, in all eras (see Mindprint by Edmond Furter, 2014, Lulu.com, or www.edmondfurter.wordpress.com).
A giant rope controller
Type 8 Healer or Scorpius (decan Ophiuchus, or Galactic rift), is expressed here as a bauble head on a rope walker’s staff (artwork after Egyptian Hunters palette, Hierakonpolis, Naqada3 culture. Perdyn. Smith 1949. British Museum). Its adjacent type 9 Healer or Scorpius is bent in trance ritual as usual, holding a rope to an extra type 6 Exile or Capricornus, and a rear leg of type 5b Priest or Aquarius as a lion (felid, more often the guise of its opposite at 13). The other end of the rope passes under type 10 Teacher or Libra (see the South African Linton panel, in Mindprint, and in another post).
Bushmen say they “climb” out of trance by “the rope of the sky” (Biesele, cited in Lewis-Williams). Type 8 Healer or Scorpius, decan Ophiuchus and Hercules, are Samson types; roping torches to fox tails, adjusting polar pillars and cultural frameworks (see fox tails in a Chinese tile at theme 11, in Mindprint). To view Samson as arising from a constellation, as De Santillana and many other writers do, is to disown his archetypal pedigree, and to reduce culture to fragments of incidental and incremental hearsay. Type 7 Child or Sagittarius is often a youth, here a lion cub.
Type 6 Exile or Capricornus is sometimes a ‘double bull’ with two heads, here a gnu (see a Utah image at theme 5, in Mindprint). However average frequencies of the optional visual attributes of 6 are low. The type is more often recognised by being ingressed towards, or away from the axial centre (48% on average in artworks worldwide). Here it is on one of the longest axes, but nor furthest from the pole, as it more often is.
Type 5 Priest or Aquarius’s body overlaps type 6, as it does among constellations, one of the holographic coincidences that mislead many researchers into assuming that myths and icons derive from astrology, while the reverse applies.
Between types 5 and 6 a serekh (door facade, the early form of a cartouche), perhaps a midwinter marker in Age Aries. Celestial polar markers on a hoof and a canine jaw, on the axis of the rope end, tag the inspiration to Age Aries.
A double-headed half-man
Type 6 Exile or Capricornus as a double-headed buck bag man (South Africa, Fouriesburg, multi-armed. Bet1. SA National Museum. Type labels and axial grid added by Edmond Furter). See the same distinctive attribute in the Egyptian Hunters palette at theme 8, and in other Pan themes. See buck bags unfolding as a kind of bagpipe in Pan themes. The type seems to also express exuberance. A chameleon with human legs is also known in rock art (South Africa, Schweizer-Reneke chameleon double-header, Ditsong Cultural History Museum, not illustrated).
Type 5b Priest or Aquarius here is multi-armed, typical of figures flanking the galactic corners. He is large, active and body-painted as usual, with some attributes of his opposite 13 Heart or Leo in a large chest and an extra axis to his heart (usually 13 is the only character ‘seeing’ by his heart instead of his eye). Here 13 Heart or Leo, and 11 Womb or Virgo, share an axis. Due to damage, noted as prior ‘attempted removal’ in the museum, this work has only two demonstrated axes. A celestial polar marker on a hoof, and the vertical plane of the polar figure and some other figures, tag the inspiration to Age Pisces-Aquarius.
A double-headed Janus
Type 6 Exile or Capricornus as a double-headed Janus, Pan or Hermes pillar (Poussin; Dance to the music of time, 1638. Type labels and axial grid identified by Edmond Furter).
Time belongs to its opposite, type 14 Mixer or Cancer, here strumming a tune as a ‘bookend’ opposite to the herm. Type 6 Exile or Capricornus expresses choice (as in the Paris’s Choice legend), and the present, which is difficult to obtain in a consciousness preoccupied with past and future, requiring meditation. The character is notably far from the pole (egress). A rational parallel to the spatial attribute, is that Capricornus was, and remains the archetypal position of winter (as Aries remains the archetypal position of spring), even before and after Age Aries.
Type 2 Builder or Taurus is a rain goddess (rain) or priestess (rainmaker), as she often is in rock art.
Type 10 Teacher or Libra expresses the carousel of life (wheel, balance), here figured only by a foot, as some of Poussin’s figures habitually do (Poussin and Blake are notable for often expressing fewer than the minimal 11 characters, and cor compromising the subconscious structure of their paintings by minimalism. See a study of miniatures and minimalist structural analysis in Stoneprint Journal 5; Culture code in seals and ring stamps).
A celestial polar marker on an elbow tags the inspiration to Age Pisces or Age Pisces late, incidental with the Renaissance. Polar markers are among the best examples of synchronicity, the apparently meaningful co-incidence of events or attributes, not traceable by physical causation or conscious logic.
Pan, Kokopelli, Krishna, Jethro Tull
Type 6 Exile or Capricornus as a goat and a human, between a double-headed character and a flute player, both features of type 6 (see Kokopelli in Canada below). The double-header, perhaps head-butters or wrestlers, or a figure with six legs, is at type 8 Healer or Scorpius, or type 7g Galactic Centre; and the flautist is at type 5b Priest or Aquarius, a type prone to sharing and swopping features (see theme 5 in Mindprint). Krishna, Pan, Kokopelli and other flute players as forest lords appear in rock art in the Americas, Africa (including Zimbabwe) and India. Ian Anderson, composer and flautist of jazz rock band Jethro Tull, is possibly an incarnation of Krishna, or at least subconsciously started expressing the repertoire; chromatic music of close-fitting notes, arpeggio slides, meditative riffs, standing on one leg, hairy, popular with goat herdesses, and campaigning for forest preservation.
Anderson discovered on a concert tour of India that “They thought I was making fun of Krishna and I had to explain that I had no idea that Krishna did this… I discovered that I was not the only one-legged flute player on earth.” (Ian Anderson; Jethro Tull, Living with the past, DVD EREDV266, Eagle Vision). A bagpipe with lilting tunes over a set of drones is also a kind of Pan music.
Type 5b Priest or Aquarius is dominant here, with a type 6 Exile or Capricornus trunk (proboscis. See a similar figure with large genitals instead, in the USA California Piedra Pintada copy at theme 5 in Mindprint). Some 6 types have Pinocchio noses doubling as flutes.
Celestial polar markers on Pan’s genitals and hip damaged by flaking) tag the inspiration in this rock art work, to Age Pisces-Aquarius. The horizontal plane tags for Age Aquarius. This poor copy of a damaged image demonstrates the order and focus that mindprint brings to apparent doodling chaos, and the window it opens on the human subconscious.