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Archetype in Tarot and crafts culture is subconscious Mindprint typology of sixteen visual archetypes

Tarot trumps re-express archetype, not Petrarch’s love poem

Tarot trumps and other sets of emblems or icons of trades, animals, birds, gods, chaps, letters, spheres or ‘elements’, express cycles of archetypal features, including at least the twelve to sixteen main types. Elaborate sets include four transitional or borderline fields, and four cosmology or ‘galactic’ markers, thus a maximum of 24 characters per cycle. This post offers evidence against Gertrude Moakley’s (1966) theory that Bembo and other designers merely copied and elaborated Petrarch’s six Triumphs of Love, Chastity, Death, Fame, Time and Eternity, into 21 trumps.

Moakley’s conclusion on Tarot trumps origin, is no longer generally supported by Tarot researchers. Some agree that card games came to Europe from China, or via Arabia (Little 2003, citing Farley; Hurley on Pre-Gebelin; strings on LTarot@yahoogroups), and mixed with Crusader chivalry in the process. But apart from traceable stylisation, there is a common cause in myths, rituals, processions, talismans, and game sets. All cultural media express the same archetypal structure or ‘grammar’ of meaning. This post is an extract from the chapter on Tarot cards in the book Mindprint (Furter 2014, Lulu.com, 200 illustrations), adding some text and images.

Tarot decks are typically 56 or 60 or 72, plus about 22 numbered trumps picturing emblems and icons. These have parallels in episodes or situations in myths, seasons and constellations. Yet each cultural medium, including crafts such as games, calendar and divination, equally expresses archetypal inspiration.

Tarot and astrology are academic taboos

Books and esoteric applications based on the Tarot deck have proliferated over 600 years, yet most artists, iconographers, scientists, and even ‘depth’ psychologist Carl Jung, shied away from studying or publishing their findings about this deck. Academic assumptions of the supposed arbitrary and wishful nature of talismans and esoteric crafts, and the necessary admixture of charlatanism in crafts, raised conscious stigmas of talismans as arbitrary and illogical. Yet art, notably rock art and spiritual or religious art, contain and hinge on talismanic elements (Thackeray 2013).

The Tarot deck contains seasonal and decanal elements, like the ‘books of hours’ that once popularised myth cycles, similar to fables, cartoons and movies. The numbered cards and court suites are interchangeable minor cycles, similar to hour decans in calendars (Neugebauer and Parker 1966), but the trumps, triumphs, or exaltations are anchored in eternally recurrent mythical and archetypal clusters of meanings (see the list below).

Tarot books mis-identify seasons, constellations, or ‘signs’

Esotericists continue to graft Tarot trump emblems onto other sets of archetype, and onto zodiac signs, and sometimes on constellations. Yet surprisingly, even astrologers have variously misidentified the constellations that parallel the 22 trumps. One of the reasons for this symbolic confusion, is the quirks in archetype. The four major types could be single or doubled: types 1 and/or 2 Builder, 12 and/or 13 Heart (not relevant to the playing card suite of Hearts), 8 and/or 9 Healer, 5a and/or 5b Priest. And the archetypal number 5 is repeated at its first magnitude (for which the Tarot deck has only one trump, 5 Pope), but doubled at the higher magnitude in base 15/16, as 20 Judgement and 21 World. And only the first seven types are given higher magnitudes, or a second layer, in base15/16, as follows: 0:15, 1:16, 2:17, 3:18, 4:19, 5a:20, 5b:21 (see the typology list below). Thus camouflage of the archetypal identity of Tarot trumps is intrinsic and formidable, but once cracked, they reveal their parallels in myth, ritual, art, calendar, myths and constellations in all cultures.

Type 10 Teacher as Wheel of Life in a Book of Hours

A Wheel of Fortune miniature illustration in a Book of Hours demonstrates autumn or ‘Fall’. Trump 10, Wheel of Fortune, is analogous to constellation Libra, the archetypal host of the autumn equinox, or cosmic balance between the annual ecliptic earth orbit equator, and the daily celestial earth rotation. During Age Aries, autumn was in constellation Libra, up to about BC 80. But in astrology, ‘sign’ Libra always hosts the equinox, as ‘sign’ Aries precesses (moves backward against the seasonal direction) with the spring equinox, irrespective of background constellations. From about BC 80 to AD 2016, the spring equinox and thus ‘sign’ Aries moved backward through constellation Pisces, and recently entered the end of constellation Aquarius (defined by being 90 degrees from both static galactic ‘gates’).

Artworks, including miniatures, and rock art, subconsciously express the same set of archetypal structure in all ages, along with archetypal cosmology. Here is a list of the set of archetypes in a Book of Hours miniature of a Wheel of Fortune (noting some of the known archetypal features).

Wheel of Fortune miniature illustration in a Book of Hours (archetype labels and axial grid by E Furter). This emblem expresses some of the recurrent features of archetype 10 Teacher (balance, wheel, raised arms, staff, etc). It is one of the popular icons of autumn or ‘Fall’ in cycles of seasons, eras, or ‘triumphs’, also expressed in myths, rituals, ‘cartoon’ artworks, and craft sets such as Tarot trumps.

Type Label; Character (archetypal feature):

1 Builder; A king falling (twist, ruin).

3 Queen; A prince (royal) .

4 King; Noble (royal) praying (more typical of 5).

5 Priest; A knave falling (horizontal).

6 Exile; Princess on top.

And the central courtier, near the axial centre (ingress), directing the wheel (’tree’).

7 Child; A courtier.

8 Healer; A courtier.

10 Teacher; A king blessing (arm up).

11 Womb; A courtier, pregnant, her axis to her midriff (womb).

12 Heart; Priest (of 5 opposite 12), axis to his chest (heart).

13c Head; Written tract (weave, oracle).

14 Mixer; A king near the axial centre (ingress).

15 Maker; Fallen emperor (order), under another (double).

00 Axial centre; Unmarked, as usual.

Midsummer; Central courtier’s shoulder (limb-joint).

Midwinter; Central courtier’s jaw (limb-joint).

The ‘solstice’ axle is near the vertical plane, between axes 13-14, analogous to Leo-Cancer, implying spring and the time-frame in Age Taurus-Aries, long before the work as usual.

Tarot trump numbers are archetypal

Tarot numbering may have been a lucky conscious or subconscious guess that ‘felt right’, or may derive from a spiral divination cards layout format that proved its worth to psychics or artists. Numbering may have been simply recognised as implicit in the designs, or extracted from a complex artwork that contained the types, as usual.

The initial problem that led to this study, and to the book Mindprint, was to identify the designer of the Tarot trumps. That question was answered in the finding that all artists express the standard sequence and spatial structure. The question could now be rephrased into ‘who numbered or reconstructed the sequence and numbering of Tarot trumps’. It could be another poet like Petrarch (see below), an artist like Mantegna (who probably did not design the Tarocchini deck variant that bears his name), a printer in Basel or Marseilles or Germany, or an alchemist or esotericist in the iconographic hothouse of the early Renaissance. If the ‘source’ of the numbering were identified, the name and work would probably just add to very long list of everyone who subconsciously expressed, and still express, archetypal structure. No indication of conscious recognition of the sequence of archetypes could be found, despite diligent search among artworks, built sites, myths, legends, rituals, alphabets and craft sets of all cultures. Nor did any author ever list, or claim to have, a ‘Periodic table’ of archetypes that apply to nature and culture, before 2014.

Type 10 Teacher as Wheel of Life in a Durer engraving

Albrech Durer’s Wheel of Fortune miniature engraving with the angel of Time, a fox, and six iconic birds, demonstrates life cycles, and autumn or ‘Fall’, one of the popular icons associated with seasons and ‘triumph’ cycles. Artworks, including icons and miniature designs, subconsciously express the same set of archetypal structure in all ages, along with some subconscious spatial cosmology. Here is a list of the set of archetypes and cosmic junctures in Durer’s engraving of a Wheel of Fortune (noting some of the known archetypal features).

Albrecht Durer; Wheel of Fortune woodcut engraving print with six birds, turned by the angel of Time and a fox (archetype labels and axial grid by E Furter). Types 14 Mixer is analogous to Temperance, or Angel of Time, and to Cancer. In this miniature she also expresses type 15 Maker, or Gemini. The eagle opposite expresses their two axial opposites.

Type Label; Character (noting archetypal features):

2 Builder; Pheasant (bird, cluster), climbing (twist) on a turning wheel (build/ruin).

3 Queen; Magpie (neck bent), crowned (queen), on top (spring).

4 King; Jay-bird (bird).

5b Priest; Fox (hyperactive), turning (assembly) in reverse? (invert).

5c Basket Tail; Wheel (disc) rear handle (‘tail’, ‘tree’). C-types are off the axial grid, but between specific axes.

6 Exile; Eagle, also expressing 7 (‘double-head’).

7 Child; Eagle, left eye, invisible (‘eyeless’).

7g Gal.Centre; Eagle wing (limb-joint).

9 Healer; Peacock.

10 Teacher; Falcon (hunt-master), claws upward (‘arms’ up). The icon of a wheel, or carousel of animals, often with a canid, is part of the optional features of type 10 Teacher.

11 Womb; Midriff (womb) of Temperance. The features of this type include law (here of life cycles), and tomb (her implied death), and library (here written labels. The original German is translated by the author).

13 Heart; Chest (heart) of Temperance, a virtue (angel). The features of this type include death (here implied by Fate), rounded (wheel), invert (cycle).

14 Mixer; Time (time) angel (angel), turning fate (transform) as a wheel (‘tree’) with birds (bird). Her inner eye, while the outer expresses type 15.

15 Maker; Time turns (churn) fate (order), shown frontal (face), with a fox (canid). Her other eye (doubled) expresses type 14. Some types share an axis in some miniature artworks (Furter 2019; Stoneprint Journal 5; Archetypes in seals, stamps and miniatures).

15g Gal.Gate; ,,,, (juncture, limb joint).

00 Axial centre; Unmarked as usual.

4p Gal.S.Pole; Jay-bird’s foot (limb-joint).

11p Gal.Pole; Time angel’s elbow (limb-joint).

Summer; Pheasant’s wing (limb-joint).

Winter; Wheel hub (juncture).

These polar triangles place the summer marker between axes 15-2, analogous to Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius. This transitional framework is somewhat ‘prophetic’ for the late Age Pisces artist, but a typical subconscious feature of works intended to perpetuate a legacy. Further study of Durer’s icons may reveal more about this work. Parallel features in other media, would in turn reveal more about icons and archetypes (see the global average percentage of known recurrent features in Mindprint 2014, Lulu.com).

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

Types by trumps, constellations, and functions

Archetypal sequence follows laws of energy and matter that differ from the neatly directional, sequential, cyclic and base10 world that our conscious minds believe us to live in. Here is a table of the set of archetypes, how Tarot trumps express it, and how constellation lore (not ‘signs’) express it (noting known archetypal features in brackets).

Type Label; Trump (archetypal features), Constellation (archetypal features):

1 Builder; Juggler (twist), Taurus Orion (hero)

1:16 Builder; Tower (ruin), Taurus Auriga

2 Builder; Priestess (rain), Taurus Pleiades (rain)

2:17 Builder; Star (rain), Taurus Perseus (twist,hero)

3 Queen; Empress (queen), Aries Andromeda (queen)

3:18 Queen; Moondogs (dragon), Aries Cetus (ovid, dragon, neck)

4 King; Emperor (king), Pisces Pegasus(rect.), Cepheus(king)

4:19 King; SunTwins(sun,twin), Pisces fish/birds (garden)

5 Priest; Pope (ritual), Aquarius (ritual, horizontal)

5a:20 Priest; Judgement(judge), Aquarius waterbearer (bless,judge)

5b:21 Priest; World (ascend), Aquarius Pegasus legs (equid)

6 Exile; Choice (sacrif.), Capricornus (caprid)

7 Child; Chariot (chariot), Sagittarius (centaur)

8 Healer; Strength (strong), Scorpius tail (bent, ‘heal’)

9 Healer; Hermit(trance,bent), Scorpius(strong), Ophiuchus(strong)

10 Teacher; Fortune(wheel,force), Sc.Claw(‘arm’), Bootes(arm), Serp.(snake)

11 Womb; Justice (law), Virgo (womb), star Spica (crops)

12 Heart; HangedMan (invert), Leo retro (felid, invert)

13 Heart; Death (death,weapon), Leo(felid,scythe shape), Regulus(heart)

14 Mixer; Temperance(time,mix), Cancer(carapace), Beehive(transform)

15 Maker; Devil (re-make,rope), Gemini (double)

15:0 Maker; Jester (bag), Gemini (double).

Moakly’s Tarot diffusion scheme

Bembo’s deck of trumps designed for the Sforza-Visconti couple, is the model for later Tarot decks. Gertrude Moakley (1966) saw Bembo’s 22 trumps as elaborated from a game of Triumphs with only six trumps, modelled on processions of religious festivals, and on naughty carnival procession mockery, and on knightly tournament processions, and on Petrarch’s poem of his unrequited love for noble Laura.

[Tarot?]   Petrarch’s triumphs:

[10/06?]   P1 Love as Cupid v gods and men.

[11/07?]   P2 Chastity v Love, as Laura’s ladylike rejection.

[12/08?]   P3 Death v Chastity, as Laura dies of Black Death.

[13/08?]   P4 Fame v Death, as Laura’s reputation lives on.

[14/09?]   P5 Time v Fame, [as Laura’s reputation wanes].

[15:0/10?] P6 Eternity v Time, as Laura’s love in afterlife.

Moakley proposed that Bembo, and the ‘Mantegna’ and Florentine Minchiate decks, had extracted these characters from Petrarch’s poem to become Tarot trumps (Tr):

Tr Character ‘from Petrarch’ (after Moakley 1966):

01 Juggler   of Love [money?] ‘Or carnival king’s meal’

02 Priestess of Love [spirituality?]

03 Empress of Love [domain?]

04 Emperor of Love [power?]

05 Pope    of Love [religion]

06 Lovers  of Love [body]

07 Chariot  of Chastity [unmotivated]

08 Justice  of Chastity [should be 11]

09 Hermit   of Time     [out of group sequence]

10 Wheel    of Chastity [contradiction]

11 Strength of Chastity [should be 08]

12 Hanged of Death

13 Death  of Death

14 Time   of Chastity, crutches [duplicates ‘9’]

15 Devil  of Death

16 Tower  of Death [but Time stars?]

17 Stars of Hermit [time]

18 Moon of Hermit [time]

19 Sun  of Hermit [time]

20 Fame of? (Minchiate only), trumpets [‘20’ assumed]

21 World of Hermit, eternal, four creatures [monastic?]

But critics (Little 2003; Hurst, and others) argue that Moakley’s conclusions are flawed, and that her scheme does not demonstrate the canonical sequence. Some commentators use the term ‘conflated’. Zodiac signs and four elements are not in Petrarch’s pattern. The ‘Mantegna’ deck has allegories from other texts. There seems no reason to assign [7] Chariot to Chastity. A Traitor, and Fire, find no parallel. Tarot trumps are not as ribald as Feast of Fools of Ship of Fools emblems (see the example below). Some Petrarch illustrators placed [8] Strength’s staff or club with [6] Cupid, or [14] Temperance’s cups with [6] Cupid, or cast the Pope and Papess as pagan Jupiter and Juno, or replace [7?] Chastity with her enemy [10] Fortune, or reduce [14/9] Time to attendant of [13] Death, or omit [5:20] Fame, or reduce [15:0] Eternity to a number, or show [13] Death as an old hag, not a skeleton.

Petrarch, whose cycle of poems on triumphs of phases of love was illustrated by ‘triumphal’ carts or icons, among the models for Tarot trump designers. Image after Laphams Quarterly.

There is now some consensus that Petrarch’s poem, and illustrators, and Tarot cards, were parallel expressions of early Renaissance mytho-poetic conventions. The present study (Furter 2014; 2016) demonstrates that all cultural conventions, including crafts sets, express archetype, and that the Tarot trumps do so in sequence, and by archetypal numbers, and with seven trumps overlapping the first seven numbers as their higher magnitudes in base 15/16 (as in the table above). Critics differ on whether Moakley’s book had any impact on Tarot users, who shared their esoteric fantasies about ‘ancient’ origins, even after evidence of medieval precursors became commonly available on the Internet (Little 2003).

And academic researchers keep their ‘developmental’ fantasies about ‘diffusion’ of ‘ideas’, even after J.G. Frazer demonstrated that all the detailed motifs of myths were present worldwide; and C.G. Jung demonstrated that dreams in all cultures repeat mythic themes; and Claued Levi-Strauss demonstrated underlying structures in behaviour; the Aarne-Thompson-Uther (ATU) catalogue numbered clusters of motifs in folk legends; and publication of the recurrent subconscious expression of archetypal structure in the art, rock art, built sites, icons and alphabets of all cultures, in two books, the anthropology journal Expression (see Sources below), four websites, and six magazine editions. The anthropology model is summarised in the recent paper Blueprint (Furter 2019, on www.edmondfurter.wordpress.com).

Wheel of Fortune miniature woodcut illustration in an edition of the first best-selling book, Ship of Fools, by the workshop of Michael Furter in Basel (archetypal axial grid by Edmond Furter). The axial grid is always between eyes, with a standard deviation to one heart and one womb, here both of the donkey-person on the left. Following the tradition of popular broadsides, the comics and ‘tabloids’ of their day, the book’s hilarious text and illustrations made humour of iconic conventions in expensive, exclusive, pious and didactic books in private collections.

Tarot trumps 8 Strength and 11 Justice were swopped

Popular archetypal sets typically contain some error, but are also typically revised, which often rectify ‘copyist’ errors. Among Tarot trumps, the sequence error concerns trumps 8 Strength and 11 Justice. In the Tarot Marseilles sequence, trump 8 Strength (type 8 Healer, trance, spiritual strength, or Scorpius), and trump 11 Justice (type 11 Womb, crops, or Virgo) became swopped in one variant. There is no inherent natural ambiguity between these two types (as there are between types 3, 4 and 6, particularly regarding the feature equid, or horse). There is also no ambiguity between their parallel myths or constellations. The variant is probably due to an ‘authoritative’ error in that became copied. Intuitive rectifying of this sequence error, is noted in a short article on Tarot trumps in Stoneprint Journal 4; London stoneprint tour (Lulu.com).

Moakley, in her brief introduction to Papus: Tarot of the Bohemians, translated by Waite (Arcanum Books), noted her dismay at popular ‘occult’ fictions and ‘ancient origins’, but accepted modern myth as worthy of study: “Literal facts about the Tarot cards are probably quite different from the occultist account. But this brings us again to another veiled darkness: the unconscious motives of those who… use symbols only to add to the amusement and excitement of a Carnival game. We may then accept the occultist tradition as a valid myth, a solemn way of stating a truth symbolically with such imaginative force that even its authors at first always mistake it for the literal truth… [The Papus book is] useful to anyone who wants to study as a cultural phenomenon this modern instance of what Robert Graves has called ‘iconotropy’ [iconic chaos v conservation, or diffusion]… despite T.S. Eliot’s remarks about “wild-goose chases after Tarot cards.” Her remark is ironic. If icons were copied and re-copied as Graves and herself thought, then entropy or chaos would soon change them beyond recognition. The study of the cause of universal recurrence, and retention of the essential core content of cluster of meanings, was overdue since the Periodic table brought order to alchemy and chemistry. Natural and cultural sets are equally rooted in archetype.

Wheel of Fortune miniature illustration in a didactic or ‘teaching’ Book of Hours (image after Pre-Gebelin. Archetypal axial grid by E Furter). The axial grid is always between eyes, with a standard deviation to one heart and one womb, here of the wheel turner in the foreground. Three giant figures manipulate or guide the wheel turners and riders, like archetype sets bounds to nature, culture and behaviour, including myth, art, ritual and meaning itself.

Layers of expression

Spiritual, religious and cultural craft art is understood in academia to be based on hallucinations that are “construed in trance”, recalled and “no doubt formalised as they were painted.” (Lewis-Williams and Pearce 2012). However ‘formalisation’ of buck bags, sky ropes, flying people, falling buck, half humans, saurian antelope and such surreal features, does not require artists, or their clients or society, to understand these forms. These forms do not necessarily directly represent the implied hallucinations, but are filtered through perception and the media of re-expression. Inspiration may resemble lucid dreams, and may not even be primarily visual. Most healers are not artists, and most artists are not healers.

Archaeologists acknowledge that sacred art is ritualised, but persist, in the words of M Biesele, in explaining art and ritual in terms of “communally held beliefs” being “operationalised… adding to the store of people’s knowledge”, while some motifs in art “do not become the source of many more paintings.” This study could not find cumulative nor dead-end motifs. Mindprint implies the very opposite of these conclusions of random, incidental and vetoed expression. Our collective subconscious and nature, thus archetype, are the sources of the sets of features, their sequence, and axial spacing of the eyes of the characters that express them in art.

Art, rock art, and all cultural media, are not individual or cultural, nor trial and error, nor bounded by a “set of beliefs” built on a supposed store of spiritual “knowledge”. Artistic and mythic structure is not a function of knowledge, but sustained by perpetually renewed inspiration.

Lewis-Williams and Pierce see iconography as “the significance of images for their makers… impossible to study without an iconographic baseline and social context of the imagery.” They call for adducing ethnographic (mythic) and lexical (conscious) meanings, from neuro-psychological and other evidence to guide a theoretical and methodological framework to explain San rock art. Mindprint offers these meanings, frameworks and methods in sixteen limited sets of features, and a simplistic, standard geometric structure, with endless close affinities to nature and culture, and truly endless examples in the cultural record.

The book Mindprint demonstrates 200 in art and cork art, and lists 400 more in an appendix, since extended to built sites, alphabets and hieroglyphs (the last two media are demonstrated in Furter 2019; Blueprint, on http://www.edmondfurter.wordpress.com; and on Academia; and on Researchgate; and on Academia). A dictionary of artistic and iconographic typology and structure is overdue, but no faith or set of “beliefs” are required.

This study is enabled by conceptual unity, as well as the principle of partial and imperfect expression. Where one sequence of icons, symbols, myths or gods may omit, underplay or overplay a type, others fill in, to specific average quotas worldwide. Culture itself functions by disunity, traceable by ‘tacks’ among its artefacts, as Wylie (1989) demonstrated to be valid in archaeology.

Culture is inherently standardised

The main ingredients of the most elusive aspects of culture, being aesthetics, beauty and inspiration, were thought to be indefinable, infinitely mutable, independently created, supported only by high culture, transfused, learned and fragile. They now appear to be highly standardised by subconscious impulse, unlearned, robust, and accessible to any prodigy or peasant anywhere. All it requires is an eye, mind, hand, canvas, and charcoal, or an episode to re-tell, or an occasion to ritualise, or a site to build on.

Cognitive archaeology denies archetypes in rock art, and does not gather or apply visual iconographic data, apart from conscious symbols provided by the available myths of the culture of the painters. Presuming that artists enter trance in expectation of certain experiences, and record largely culturally expected visions, cognitive archaeology expects healers to find what they consciously expect to find, and the science itself does not find what it believes the artists do not expect to find. “San religious beliefs and experience was constrained, or framed, by the individual image-maker’s intellectual and social milieu,” wrote cognitive archaeologist David Lewis-Williams (2012 p78). Science denies that people and cultures participate in a collective or universal subconscious. Yet conscious contact with the symbolic and collective subconscious realm is one of the causes, effects and aims of ritual, and particularly of art.

Popular anthropology fictions

Popular culture consumes spiritual experience as a type of adventure tourism or escapism. Most popular anthropology or ‘ancient mystery’ writers trade in archetypes, without addressing or even mentioning archetypes. Some popular writers start from the premise of an ancient super race (Malkowski 2010. Hancock opus). Some start on the super race or space ‘contact’ premise (Robert Temple; Sirius mystery), then migrate to an academic view (Robert Temple; Netherworld). Most academics start from the opposite premise, of an ancient primitive race blessed by evolution. Some academics migrate to an appreciation of the complexity of primitive cultures (Thackeray 2013). The middle ground where these mutable academic and popular paradigms should meet, remains elusive due to paradigmatic taboos.

Layers and haloes of meaning

Jung noted the formulaic nature of art in his approach of circumscription (finding relevant meanings or ‘signatures’ in dreams) to diagnose and prescribe appropriate myths, on the assumption that outer and inner experience and health determine their own spheres of meaning. Jung scoured peripheral meanings to reveal core meanings, confirmed in this study by the finding that each type includes a halo of related meanings.

Heidegger wrote that “a poet or thinker with his moral legein grants a world for a nation to live… by responding to the logos of earth, sky and gods… The framing-in of a world is a work of the founding physis, carried by mythos and spelled out by poetry… If we think we are interpreters, we steal from ourselves. Interpretations remain translations in different words, not revelations of truth and meaning.” This view applies to the meanings conventionally readable in Camoens, Picasso, Brink, Coetzee and all moralising (in the broad sense of the word) artists. This view is also relevant to the conventional meanings of spiritual texts. The arts translate the universe into a microcosm of the human subtext. The language of art, however, may well extend beyond interpretation, and thus reveal truth and ultimate meaning. The fault of occlusion is not in our art, books or eyes, but in our minds that we cannot understand the full meaning of what is in front of our eyes.

Compulsive inspiration

Subconscious expression in the service of spiritual inspiration is unerring, despite ardent search in this study for defective, contradictory or absent types, or misplaced geometric elements. We are hard-wired to see and express scenes in this way, and equally disposed to deny that we do so and to fancy ourselves thinkers of original thoughts and painters of original scenes. Art is our intimate hologram of infinitely varied scenes, populated by myths and legends, hidden in plain sight in galleries, museums and books, locked behind our equally hard-wired conscious paradigms of what history, myth, astronomy, archetypes and art should be.

An artwork is not done until all the figures of the inspiration are positioned in their allotted spaces, in addition to, or perhaps despite the less exacting function of making some immediate conscious sense to the artist and likely viewers. In the context of archetypal expression, the perpetual dictum of ‘art for art’s sake’ acquires new meaning. Whether other people would see it, or understand it, or use it in initiation, seems of lesser importance than its completion. Apparent chaotic overwork in some rock art and abstract art around the world indicates a predominant inspiration and expressive impulse, at the cost of recording or communication on a conscious level.

  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illustrations, A4, perfect bound, $16), from Lulu.com on:

http://www.lulu.com/shop/edmond-furter/mindprint-the-subconscious-art-code/paperback/product-21788346.html

  • Some Stoneprint Journal editions are also available on Lulu.com
  • Order the book Stoneprint, demonstrating collective subconscious expression of archetypal structure in buildings and built sites worldwide, on email from Four Equators Media, via edmondfurter at gmail dot com at $/e250 plus postage from Johannesburg, South Africa.

Some references

Allen, R.H. 1899 Star names and their meanings. Lost Library, Glastonbury

Boeyens, J.C.A; Thackeray JF. 2014 Number theory and the unity of science. S African J. Sc. 110

De Santillana G., Von Deschend H. 1969 Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit

Edinger, E. 1991 Anatomy of the psyche: Alchemical symbolism in psychotherapy. Open Court

Finkel, I. 2007 Ancient Board Games in Perspective, Brit Museum Press

Furter, E. 2014 a. Mindprint, the subconscious art code. Lulu.com

Furter, E. 2014 b. More examples of structuralist art analysis. www.mindprintart.wordpress.com

Furter, E. 2015 a. Gobekli Tepe, between rock art and art. Expression 9, p21-25. Atelier Etno, Italy. Also in Expression book Rock art: Where, When, Why, to Whom,2015 Nov

Furter, E. 2015 b. Art is structural magic, not illustration. Expression 10, p15-21, Dec. Atelier Etno, Italy. Also in Expression book ,,,,,

Furter, E. 2015 d. Structuralist rock art analysis. Association of Southern African Professional Archaeologists, ASAPA. In press 2019, University of Zimbabwe, Harare

Furter, E. 2015 e. Mindprint in mushroom, psiclocybin, peyote, mescalin, sugar, and chocolate art. http://www.mindprintart.wordpress.com

Furter, E. 2016 a. Abstract signs in art are shorthand for cultural structure. Expression 13, p42-53. Ed. Anati, E. Atelier Etno, Italy. Also in Anati, E; Meaning of abstract signs.

Furter, E. 2016 b. Colonial artists re-style the same characters. Expression 14, p38-47. Atelier Etno, Italy

Furter, E. 2016 c. Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg

Furter, E. 2017 a. Pregnant is the most consistent typological gender. Expression 15, p19-24, Atelier Etno, Italy

Furter, E. 2017 b. Stoneprint Journal 1; Pictish beasts ‘zodiac’. July. Four Equators Media, Johannesburg

Furter, E. 2017 c. Stoneprint Journal 2; Crop circles are natural artworks. Four Equators Media, Johannesburg

Furter, E. 2017 d. Recurrent characters in rock art reveal objective meaning. Expression 16, June, p54-62. The message behind the image. Atelier Etno, Italy. Also in Expression book 25, 2019.

Furter, E. 2018 a. Stoneprint Journal 3; Paris stoneprint tour. Four Equators Media, Johannesburg

Furter, E. 2018 b. Stoneprint Journal 4; London stoneprint tour. Lulu.com

Furter, E. 2018 c. Stoneprint Journal 5; Culture code in seals and ring stamps. Lulu.com

Furter, E. 2019 a. Stoneprint Journal 6; Rennes le Chateau stoneprint tour. Lulu.com

Gombrich, E.H. 1960. Art and illusion: a study in the psychology of pictorial representation. Princeton. Princeton University Press.

Hurst, M.J. [Tarot history]. http://www.Pre-gebelin

Jung, C.G. 1912, 1953, 1979. Symbols of Transformation; IN Collected Works Vol. 5, transl R Hull, Editor Herbert Reed, M Fordham, G Adler; ed, McGuire. Bollingen Series XX. Baltimore. Routledge & Kegan Paul

Jung, C.G. 1934, 1954 Archetypes of the collective unconscious. CW

Jung, C.G. 1950 Synchronicity; an a-causal connecting principle, treatise

Jung. C.G. 1959. The archetypes and the collective unconscious. Translated by RFC Hull. Editor Herbert Read, Michael Fordham, & Gerhard Adler. New York. Pantheon Books

Leach, E. 1970 Claude Levi-Strauss. University of Chicago Press

Lewis-Williams, J.D., and Pearce, D.G. 2012. Framed Idiosyncrasy: method and evidence in the interpretation of San rock art. SA Archaeological Bulletin 67, pp 75-87. Johannesburg. SA Arch.Soc.

Little, T.T. 1999; 2003. Moakley 101. http://www.Luxlapis

LTarot. LTarot@yahoogroups.com

Malkowski, E.F. 2010. Ancient Egypt 39 000 BC, Civilisation X

Moakley, Gertrude. 1966. Tarot cards painted by Bonifacie Bembo for the Visconti-Sforza bemily, an iconographic and historical study. New York Public Library /Emily Ellsworth Ford Skeel Fund /Astor, Lenox and Tilden Foundations

Neugebauer O., and Parker R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. Providence. Brown University Press

Temple, R. 2002. Netherworld. London. Century

Thackeray, J.F. 2013 Principle of sympathetic magic in the context of hunting, trance and S. African rock art. SA Arch.Soc, Digging stick, April. /Inst. for Human Evolution

Tresidder, Jack. 1997 /1999. Watkins dictionary of symbols. London. Watkins

Wylie, A. 1989. Archaeological cables and tacking: the implications of practice for Bernstein’s options, beyond objectivism and relativism. In: Philosophy of Social Sciences 19, March, vol 1, pp 1-18

Yates, Frances. 1972. Rosicrucian Enlightenment. London

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Archetype in Islamic art culture is subconscious Mindprint typology of sixteen visual archetypes

An early Islamic metal mirror with figurative art expresses archetypal structure

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). The theme of ‘mirroring’ appears in a double-headed character (at 1); and in two antithetical staffs; and in subconscious doubling of four of the ‘single’ types; and in the practical purpose of the metal cast itself. Here is a list of how the artist expressed the universal subconscious typology.

Iranian or Turkish mirror back made for the Persian market, 1200s, early Islamic style (metal. After Pinterest. Typology and axial grid by ED Furter). (See another metal artefact made to order, in the Gundestrup Bowl made in Greece for the Celtic market, in Stoneprint Journal 1; Pictish Beasts).

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).

5c BasketTail; Two-headed staff dragon (heads, mirrored).

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 midsummer or celestial pole marker is on the design centre (rare), or unmarked. The midwinter or celestial south pole marker is on a hand and knee, or a foot (limb joint). These options place ‘spring’ and the cultural time-frame in Age Taurus, confirmed by a bird-bull-man griffin as semi-conscious symbol of equinox, where two equators cross, and by the main character as an Aquarius winter ritual focal point). The time-frame is before the artist, as usual. An alternative time-frame of Age Aries-Pisces is indicated by a bird and two-headed staff near the top (see similar seasonal markers in Babylonian kudurru or boundary stones, in another post on Babylonian hour decans). This design elaborates several Age Taurus features (in contrast with the Age Aries Egyptian palettes, as demonstrated in another post, and in the book Mindprint). The artefact is of Age Pisces, an early Islamic medieval metalwork, before Islam banned figurative images. The transitional Aries-Pisces features express a transition between tradition and reform.

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mindprint in modern art Mindprint typology of sixteen visual archetypes

Structural analysis of some San Fancisco art

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.

Mindprint structural art analysis of a graffiti mural in San Francisco, themed on cultural diversity. To see how these figures express some of the more frequent attributes of the subconscious typological sequence, use the standard format caption provided in an adjacent post. Also see a list of the features of the complex four-layered structure of visual expression, and more examples, on www.edmondfurter.wordpress.com. Artists are not aware that all artworks in all cultures follow a strict visual 'grammar', despite the apparent diversity, and distractions of subject and styling. The core content of art, myth, and ritual, is identical in all cultures.
Mindprint structural art analysis of a graffiti mural in San Francisco, themed on cultural diversity (Type labels and axial grid added by Edmond Furter). To see how these figures express some of the more frequent attributes of the subconscious typological sequence, use the standard format caption provided in an adjacent post. Also see a list of the features of the complex four-layered structure of visual expression, and more examples, on http://www.edmondfurter.wordpress.com.
Artists are not aware that all artworks in all cultures follow a strict visual ‘grammar’, despite the apparent diversity, and distractions of subject and styling. The core content of art, myth, and ritual, is identical in all cultures.

The prompt for this post was an internet radio interview on mindprint with Cliff Dunning of Earth Ancients, based in San Francisco.

Mindprint structural art analysis of an artwork titled Three Apostles of Jazz (San Francisco Public Library exhibition). This is one of very few slightly flawed expressions found among 570 analyses from every culture and age worldwide. Type 4 Pisces is absent, or merely part of a tree, or the Aztec sun stone copy meant to express the type ('sun' and 'twins' are among the attributes of type Pisces), is displaced. The reason for the anomaly, resembling a slight grammatical error, seems to be the extension of the work by adding some paper or canvas on the left, or contracting tine initially longer work at the apparent fold. Extended scenes are also found in rock art. Mindprint is traceable and provable in any artwork containing more than eleven characters or figures, including eyes on statues, and pictures within pictures.
Mindprint structural art analysis of an artwork titled Three Apostles of Jazz (San Francisco Public Library exhibition). This is one of very few slightly flawed expressions found among 570 analyses from every culture and age worldwide. Type 4 King may be the Aztec sun stone copy (‘sun’ and ‘twins’ are among the features of type 4), but it is off the axial grid. The reason for the anomaly, resembling a slight grammatical error, seems to be the extension of the work by adding some paper or canvas on the left, or contracting tine initially longer work at the apparent fold. Extended scenes are also found in rock art.
Mindprint is traceable and provable in any artwork containing more than eleven characters or figures, including eyes on statues, and pictures within pictures.
Mindprint structural analysis of a Chinese festival scene on the much larger fabric of the Union Square Hyatt fountain in San Francisco. Several other scenes or groups on this fountain exterior also express visual structure. Artists are not aware of the structure, nor could it be faked. The polar triangles at the centre, usually expressed by certain limb joints, and by the horizontal or vertical plane of the figures, roughly indicate the temporal framework of the relevant culture, in terms of precesisonal Ages. Artists are not astronomers, nor astrologers, nor historians, nor merely illustrators of natural or cultural scenes or myths. The entire structure is subconscious, just as grammatical structure is subconscious to almost all speakers of any language.
Mindprint structural analysis of a Chinese festival scene on the much larger fabric of the Union Square Hyatt fountain in San Francisco (type labels and axial grid added by Edmond Furter). Several other scenes or groups on this fountain exterior also express visual structure. Artists are not aware of the structure, nor could it be faked.
The polar triangles at the centre, usually expressed by certain limb joints, and by the horizontal or vertical plane of the figures, roughly indicate the temporal framework of the relevant culture, in terms of precessional Ages.
Artists are not astronomers, nor astrologers, nor historians, nor merely illustrators of natural or cultural scenes or myths. The entire structure is subconscious, just as grammatical structure is subconscious to almost all speakers of any language.

 

 

Mindprint structural analysis of an artwork titled Homeless State Prison (San Francisco Public Library exhibition). Type 12/13 Leo is feline (here a puma) in 14% of artworks worldwide, including rock art. He is always (85%) positioned with his heart on the axial grid, instead of his eye as most of the other figures are. A slight change in the position of some of the figures would invalidate the complex and testable claims that I make in Mindprint, the subconscious art code. The complexity and variety of structural expression in the art and myth and ritual of Stone Age, Ice Age, early cities, classical and modern cultures, is identical. Culture does not evolve, it only mutates. Despite the multiplication of technologies in cultures of high population density (such as Egypt, India, China, Europe, Mexico and other places), the core content of our cultural expressions in all media remain the same.
Artwork titles Homeless State Prison (San Francisco Public Library exhibition, Type labels and axial grid by Edmond Furter).
Type 12/13 Heart or Leo is often felid (here a puma). He always (85%) has his heart on the axial grid, instead of his eye as other figures have. A slight change in the position of two or three characters would invalidate the complex and testable claims of the mindprint model, yet no acknowledged artwork has yet been found as an exception to the rule.
The complexity and variety of structural expression in the art and myth and ritual of Stone Age, Ice Age, early cities, classical and modern cultures, is identical. Culture does not evolve, it only mutates. Despite the multiplication of technologies in cultures of high population density (such as Egypt, India, China, Europe, Mexico and other places), the core content of our cultural expressions in all media remain the same.

 

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culture is subconscious Doctor Dahesh art analysis mindprint in modern art Mindprint typology of sixteen visual archetypes

Subconscious structure in the art of Doctor Dahesh

Subconscious structure in the Paradise illustration in a book by Doctor Dahesh

Paradise by Doctor Dahesh, or after Dahesh, signed G Pavis (mindprint labels and axial grid by Edmond Furter).
Paradise in a book by Doctor Dahesh, signed G Pavis (type labels and axial grid by Edmond Furter).

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

Inferno by Doctor Dahesh (mindprint labels and ocular, eye-to-eye, axial grid by Edmond Furter).
Inferno by Doctor Dahesh (mindprint labels and ocular, eye-to-eye axial grid by Edmond Furter).

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).

12 Heart or Leo; Incarnated woman A’s chest (heart), escaping hell (invert).

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

 

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Mindprint typology of sixteen visual archetypes

Type 12/13 Heart or Leo, one of the sixteen archetypes

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).

Rock art panel with a many-limbed figure (Albany Museum alb03 1r. Mindprint labels and axes added by Edmond Furter). The artwork is damaged. The axes to blank areas indicate where the eyes of typological figures may have been, based on attributes and positions of the remaining figures.
Rock art panel with a many-limbed figure (Albany Museum alb03 1r. Type labels and axial grid added by Edmond Furter). The artwork is damaged. Axes to blank areas indicate where the eyes of typological figures may have been, based on attributes and positions of the remaining figures.

 

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.

Asuras and Daityas seeking elixer (R Storm. Mindprint labels and axes added by Edmond Furter).
Asuras and Daityas seeking elixer (R Storm. Type labels and axial grid added by Edmond Furter).

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.

Mindprint typological identifications, and axial grid, in a typical Egyptian duat art scene.
Mindprint typological identifications, and axial grid, in a typical Egyptian duat art scene. Type labels and axial grid by Edmond Furter).
Egyptian duat art scene (Book of Caverns. Mindprint labels and two sets of axes added by Edmond Furter).
Egyptian duat art scene (Book of Caverns. Two overlappping sets of tyhpe labels and two axial grids added by Edmond Furter).

Doubled duats

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).

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Mindprint typology of sixteen visual archetypes

Type 6 Exile or Capricornus; Pan or Kokopelli

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).

Type Capricornus t6 as a double bull (Hunters Palette, Egypt. Brit Mus 1949. Mindprint labels and axes added by Edmond Furter 2011).
Type 6 Capricornus as a double bull (Hunters Palette, Egypt. Brit Mus 1949. Type labels and axial grid by Edmond Furter 2011).

 

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.

Type 6 Capricornus as a double-headed antelope man or chameleon man (SA Free State Fouriesburg bet1 rock art, Rari. Mindprint labels and axes added by Edmond Furter). Compare the attributes, and relative position in the sequence, and on the ocular axial grid, with the Egyptian double-headed animal on the Hunters Palette.
Type 6 Capricornus as a double-headed antelope man or chameleon man (SA Free State Fouriesburg bet1 rock art, Rari. Mindprint labels and axes added by Edmond Furter). Compare the attributes, and relative position in the sequence, and on the ocular axial grid, with the Egyptian double-headed animal on the Hunters Palette.

 

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.

poussin dance to the music of time 1638 id furter 2012

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.

North American rock art featuring Kokopelli as a polar figure, with its limb joints on polar points. The type is also expressed in its usual place in the peripheral sequence, as a goat. It is sometimes a double-headed animal or person, such as Janus, or a satyr (half-goat) such as Pan, or plays a pipe, or double pipes, or bagpipes, or dijeridoo. Falutist Ian Anderson and the blues rock band Jethro Tull subconsciously express the type.
North American rock art featuring Kokopelli as a polar figure, with its limb joints on polar points. The type is also expressed in its usual place in the peripheral sequence, as a goat. It is sometimes a double-headed animal or person, such as Janus, or a satyr (half-goat) such as Pan, or plays a pipe, or double pipes, or bagpipes, or dijeridoo. Falutist Ian Anderson and the blues rock band Jethro Tull subconsciously express the type. Type labels and the axisl grid is added by Edmond Furter.

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.

Type Capricornus t6 as a double-headed animal (South Africa, Free State, Bethlehem area rock art panel bnl1, Rari). In Egyptian art, this type of figure is named a'double bull', although it is sometimes bovid or antelope, more often caprine.
Type 6 Capricornus as a double-headed animal (South Africa, Free State, Bethlehem area rock art panel bnl1, Rari. Type labels and axial grid added by Edmond Furter). In Egyptian art, this type of figure is named a’double bull’, although it is more often caprid.