Typology features of characters in the Indian Parhupati seal, as in all cultures, demonstrate that the five structural layers of expression are subconscious to artists, architects, builders and members of any culture. Early Indian seals compare well to Dilmun seals, partly due to stylistic exchange, but mainly due to universal archetype. General themes in the famous buffalo god Harappan seal include type 6 Exile or Capricornus; of ingress (here of the god), sacrifice, U-shaped (here of two letters, and of horns), volute (here of the podium bases), horned, and double-headed (here of two letters, and the main character).
India, Harappa, Parhupati seal (after Njasaryablog, bottom right character missing, assumed, and restored as antithetical. Typology and axial grid by ED Furter).
These characters express about 50% of the known recurrent features of the sixteen archetypes, in their sequence, and with their focal points on the axial grid, as usual (the average is 60%, but miniature artworks usually express fewer).
Type; Character (noting archetypal features):
2 Builder or Taurus; Fish (of 3? But see a type 2-4 swop in a Hellenic salt pan calendar, on https://stoneprintjournal.blog/2018/04/02/a-greek-salt-frying-pan-model-of-character-and-calendar/ ).
3 Queen or Aries; Two-headed dragon (long or bent neck, dragon, spring). Also typical of 6. Types 3 and 6 are inherently ambiguous in about 5% of their features.
4 King or Pisces; King? Sitting (squatting), with 4p (twins).
The axial centre or ‘ecliptic’ pole is unmarked, as usual. The celestial south pole is on horn B (usually a limb joint, which the horns here seem to express). The horizontal plane confirms ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.
The five structural layers of art and architecture, are subconscious. Some of the symbolic aspects of archetypal features are semi-conscious, thus semi-logical. The only design that hints at some conscious understanding of the axial grid by the artist, is the Cycladic salt pan bottom calendar, with radial divisions (see the link noted at type 2 above). However the calendar is understood as an abstract cycle, and most cultures and crafts do not inquire further into the underlying structure of time, space and character. Crafts such as astrology and alchemy use aspects of art, particularly emblems and icons, but tend to isolate their functions from common crafts such as art and myth.
General themes in this Indian seal of Mohenjo Daro, include type 13c Basket Head, typical of prediction or calendar feasts, here a head offering, a box, and two structurally ‘extra’ aswins, or wives of sages. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.
2 Builder or Taurus; Ram.
2c Basket; A letter (woven texture).
3 Queen or Aries; : (in the damaged edge).
4 King or Pisces; Fish (fish, rare).
5a Priest or Aquarius; Man, its head in the damaged edge. Priest? (priest).
5c BasketTail; Letter, U-shape (of 6).
6 Exile or Capricornus; Wife G with cap (horned), far from the centre (egress).
7 Child or Sagittarius; Wife G, opposite two types, a regular device in minimalist works. Hair tassle (rope, juvenile).
7g Gal.Centre; Wife F.
9 Healer or Scorpius; Wife E.
10 Teacher or Libra; Wife D.
11 Womb or Virgo; Wife C’s midriff (womb).
11p Gal.Pole: King’s foot (limb joint).
12 Heart or Leo; Wife C’s chest (heart, palace), under stool with head.
13c BasketHead; Wives B, A. And stool, box (container), head on stool (of 13, death).
14 Mixer or Cancer; Goddess in papal fig (tree) gate (U-shape of 6 opposite), calendric feast (time), far (egress).
15 Maker or Gemini; King (order) offering a head (face, doubled), creeping forward (rampant).
The axial centre is unmarked as usual. The celestial south pole is on the ram shoulder (limb joint), placing ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two top central types.
The culture code model
Mindprint model of the archetypal structure, or ‘grammar’ of natural and cultural expression (after Furter 2014, 2016). The typological set of sixteen clusters of optional features, applies to all media, including cosmology, calendar, ritual and myth. The five levels of typology, sequence, polar points, axial grid of eyes, and spatial orientation of eyes or focal points, are directly testable in complex artworks (including seals and jewel stamps) and in building sites.
STONEPRINT Journal 5; The culture code in seals and rings
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.
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 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.
Four bronze plaques by Cibber, on the four sides of Nelson’s Column in Trafalgar Square, London, picture the four main battles of Admiral Horatio Nelson. Each plaque also expresses the standard, universal, subconscious structure of visual art, named mindprint (Furter 2014), as demonstrated below. The structure, still unknown to artists and art historians, includes the standard set of twelve to sixteen archetypal features; in the standard peripheral sequence; with their eyes or focal features on an axial grid; and with limb joints at certain polar points.
Comparison of structuralist analyses of the four sculpted and cast plaques, reveal the same minimalist level of design complexity, with one or two compromises towards the conscious programme in each panel.
Conscious and archetypal characterisation are also minimalist here, indicating that the four works are elements of one installation. Any structuralist assessment (or assessment of structuralist art analysis against what they revel of these plaques), should thus include all four.
The inherent time-frame of the four panels differ, indicating separate design phases. Apparent variety in design, even in works focussed on the same person, in four similar situations, demonstrate how conscious preoccupations camouflage the identical spatial structure and optional core content in artworks worldwide.
Cibber made a maximal expression of archetypal structure in his other major public commission in London, the Great Fire Monument west plaque, themed on rebuilding. Any structuralist assessment of Cibber (or assessment of structuralist art analyses against what they reveal of Cibber), should thus include the Fire plaque (see a separate post on that artwork).
Type label; Character (archetypal features):
1 Builder or Taurus; Capt Hardy’s grip on Nelson’s hat.
2c Basket; Nelson’s hat (container), emblem of a clover?
3 Queen or Aries; Capt Hardy looking back (bent neck).
4 King or Pisces; Sailor A. 4p Gal.S.Pole; Sailor A’s mouth (limb joint).
5a Priest or Aquarius; Sailor B in top hat (varicoloured) carrying Nelson.
5b Priest or Aquarius; Musketeer. Same axis as 5a.
5c BasketTail; Black (varicoloured, of 5) musket loader.
6 Exile or Capricornus; Nelson dying (sacrifice), near the centre (ingress), bullet in the spine, symbolised by the cannonball dent in the mast (tree) above him.
7 Child or Sagittarius; Sailor kneeling to carry Nelson.
8 Healer or Scorpius; Officer crouching (bent forward).
10 Teacher or Libra; Sailor dead (arm V-posture).
11 Womb or Virgo; Cannoneer ’s midriff (womb). 11p Galactic Pole: Captain’s hip (limb joint).
13 Heart or Leo; Cannoneer’s chest (heart, weapon).
13c Basket Head; Cannon.
14 Mixer or Cancer; Cannoneer, nearer the axial centre (ingress).
15 Maker or Gemini; Sailor raising a sail (bag) by rope (rope) with another (doubled). 15g Galactic Gate; Captain’s loudhailer.
The ecliptic pole is unmarked as usual. The celestial pole is on Capt Hardy’s shoulder (limb-joint). The celestial south pole is on a kneeling sailor’s mouth. These markers are off the horizontal plane, but place summer in Taurus, thus spring and the cultural time-frame in Age Aquarius, ahead of the era of the Age Pisces work, but consistent with London as a progressive city. Cibber’s other major public work is the Great Fire Monument plaque, expressing the usual conservative time-frame, but the conscious theme of rebirth and cosmic Ages. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
Battle of St Vincent plaque
Type label; Character (archetypal features):
2 Builder or Taurus; Admiral Nelson.
2c Basket; sail cover (container, weave).
3 Queen or Aries; Sailor A, looking up (long neck).
4 King Pisces; Soldier with two swords (twins), also expressing type 5a Priest or Aquarius (varicoloured, hyperactive). 4p Gal.S.Pole; Nelson’s elbow (limb joint).
5c Basket Tail; Rope coil.
6 Exile or Capricornus; Sailor B holding a spar (tree).
7 Child or Sagittarius; Sailor B’s hand on a sail (bag). 7g Galactic Centre: Bloodied sail on a spar (juncture).
9 Healer or Scorpius; Sailor wounded by a spar.
10 Teacher or Libra; Doctor (arm V-posture).
11 Womb or Virgo; Noble’s midriff (womb). 11p Galactic Pole: Noble’s shoulder (limb joint).
12 Heart or Leo; Noble’s chest (heart), presenting a sword (weapon).
13c Basket Head; Sailor with a hook?
14 Mixer or Cancer; Sailor top left, far from the centre (egress).
15 Maker or Gemini; Captain (order) conferring with an officer (doubled).
The ecliptic pole is on Nelson’s hip (limb joint). The celestial pole is on the noble’s jaw (limb joint 50%). The celestial south pole is on Nelson’s hand (limb joint). The horizontal plane confirms summer in Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
Battle of Copenhagen plaque
Type label; Character (archetypal features):
1,2 Builder or Taurus; Sailor A. And Sailor B behind.
3 Queen or Aries; Captain, reading map and holding a flag.
4 King or Pisces; Officer reading map (twins). 4p Gal.S.Pole; Nelson’s elbow (limb joint).
5a Priest or Aquarius; Sailor holding a wounded boy (inversion of 12).
5c Basket Tail; Map and hourglass.
6 Exile or Capricornus; Wounded boy (sacrifice, small).
7 Child or Sagittarius; Cannon’s pulley (unfolding, rope). NO EYE. 7g Galactic Centre: Five feet (path).
9 Healer or Scorpius; Wounded sailor.
10 Teacher or Libra; Doctor (arm V-posture).
11 Womb or Virgo; Officer’s belly (womb). 11p Galactic Pole: Nelson’s arm stump (limb joint).
12 Heart or Leo; Officer’s chest (heart).
13c Basket Head; Copenhagen buildings.
14 Mixer or Cancer; Nelson’s shoulder ? NO EYE.
15 Maker or Gemini; Sailor brother (doubled), his brother with a rope (rope). 15g Gate; Nelson, and a noble behind him (usually no character).
The ecliptic pole is on Nelson’s missing hand (limb joint). The celestial pole is on Nelson’s chest (more typical of 12/13 Heart or Leo, but his eye is not characterised). The celestial south pole is on Nelson’s hip (limb joint). The vertical plane confirms summer in Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, ahead of the work by about 200 years, but typical of London’s progressive spirit since the Great Fire of 1666. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
Battle of the Nile plaque
Type label; Character (archetypal features):
2 Builder or Taurus; Sailor A leaning over (twisted).
3 Queen or Aries; Captain, looking back (bent neck).
4 King or Pisces; Sailor D, carrying a casualty down stairs (squatting) with sailor C (twins). 4p Gal.S.Pole; Sailor C’s neck (limb joint, rarely a neck).
5b Priest or Aquarius; Casualty (horizontal).
6 Exile or Capricornus; Sailor C’s chest, EYE OFF GRID.
7 Child or Sagittarius; Sailor E. 7g Galactic Centre: (water 15%, gate, juncture).
9 Healer or Scorpius; Sailor F, wounded (bent forward), tended by a boy (typical of 7).
10 Teacher or Libra; Boy medic (arms up).
11 Womb or Virgo; Sailor G’s midriff (womb). And eye. 11p Galactic Pole: Nelson’s missing hand (limb joint 68%).
13 Heaert or Leo; Nelson’s chest (heart).
14 Mixer or Cancer; Nelson, near the axial centre (ingress).
15 Maker or Gemini; Sailor carrying Nelson.
The ecliptic pole is on the captain’s shoulder (limb joint). The celestial poles are uncertain, The horizontal plane indicates summer in Cancer, thus spring and the cultural time-frame in Age Aries /Pisces /Aquarius, confirmed by the top central position of type 3 Queen or Aries as the captain. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
On a larger scale, the mindprint structure is expressed in London, as in all cities and building sites, where it is named stoneprint (Furter 2016). Nelson’s column is the main expression of type 9 Healer or Scorpius in London. The currently known features of type 9 Healer or Scorpius, some with known average percentages of recurrence in samples of about 50 or more artworks or building sites, are: pillar 50%, bent forward 30%, healer 11%, strength 9%, ritual, lamp.
Nelson’s column expresses two of these features (pillar, strength). The admiral and national hero had led his last naval battle off Cape Trafalgar in the English Channel in 1805 on 21 October, beating France and Spain combined under Napoleon. Here he was shot by a sniper on his ship Victory, in the spinal cord (bent forward). He had lost and arm and an eye in earlier battles. His statue of 17ft, on a pillar of 185ft, was erected in 1829. The pillar’s shadow geometry is based on the Great Pyramid (see also the Great Fire Monument, Stoneprint Journal 4, p24.). The pillar base has four reliefs of victories; Nile, Copenhagen, Cape St Vincent, Trafalgar. Four bronze lions (strength, see trump 8, virtue over monster jaws) were added on the corners in 1868.
Among the other features on London’s axis 9 Healer or Scorpius, are the Royal College of Physicians (healing); and the Queen Eleanor Cross site at Trafalgar Square south, of marble (pillar), a former survey zero point (incidentally on the same latitude as the London stoneprint axial centre across the river). One of twelve pillars on her body’s route from Lincoln, by Edward1. It was moved to Charing Cross, removed by the Republic, but replaced by a Charles1 statue. A replica stands at Charing Cross station.
Among the features on London’s adjacent axis 9 Healer ScorpiusB, are Trafalgar Square north-west corner, the empty plinth (pillar) for the Duke of York (William4), since 1999 bearing alternating statues. In 2018 it carried ‘Heroic Woman’, with short arms and legs, sitting flat (bent forward). In the north-east corner stands a George4 statue (intended for axis 12 Marble Arch in 1847). On this axis are also the National Gallery south side; Royal Institution former site; Museum of Mankind (strength feats); and Faraday Museum, Albermarle Str, to a pioneer of electricity (lamp), and a former Royal Society site. Ten elements were discovered here by electricity (strength).
Between axis 9 Healer or Scorpius and axis 10 Teacher or Libra, lies a wedge named 9c Basket Lid, known for recurrent themes of revelation 15%, law enforcement 9%, disc /wheel /crown, or snake. This wedge usually contains some additional expressions of type 9 or 10. Here lies Cleopatra’s Needle (type 9, pillar), linked in legend to a suicide by snakebite (snake), raised here in 1878 on Sep 13 over a time capsule (lid, revelation). Sphinxes (strength) were added later. The 9c Basket Lid wedge also contains the London Coliseum theatre (9 strength feats, pillars. See Rome 9 Coliseum, canvas texture, on the cover); London Palladium (pillar), named after a protective stone (healer); Royal Institute of British Architects (9 pillar), with interior columns of black marble (9 pillar); Hanover Square St George church Corinthian portico (9 pillar); St Martin in the Fields Corinthian portico (9 pillar); and Ripley’s Believe it or Not curiosities (revelation).
Or order the book Stoneprint (2016), or Mindprint (2014); or slide show talks; or to contribute articles, email email@example.com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4
This post demonstrates the five layers of standard subconscious archetypal structure in some artworks by Shawn Thornton, who paints in a style typical of tryptamine-induced visions. He suffered from pineal gland cancer at the base of the brain. Thornton uses few figurative characters, some semi-abstracts, and many abstract shapes, yet some features of the sixteen archetypes, in sequence, with their eyes on the axial grid, around the five polar junctures, and the cosmic time frame, appear in all his artworks, as they do in all complex artworks (containing eleven or more characters) worldwide.
There are no structuralist differences between art associated with coffee, sugar, alcohol, DMT, mescaline, psilocybin, tryptamine, or sober art (see other posts with these stylistic tags on my four sites: http://www.mindprintart.wordpress.comhttp://www.edmondfurter.wordpress.comhttp://www.stoneprintjournal.bloghttp://www.stoneprintjournal.wordpress.com).
The only differences are in styling and texture, which are inherently meaningless, and part of the optional repertoire for appropriating culture to a socio-economic polity or cult.
All complex abstract artworks, and rock art works (typically containing many abstract shapes among figurative shapes) also express mindprint (see Furter 2017, in the anthropology journal Expression 13: Abstract signs reveal archetypal structure in culture). Some recurrent ‘abstract’ shapes in art and rock art are figurative, but stylised, or poorly drawn. Part of their meanings lies in what they occasionally illustrate of other cultural media, such as myth, ritual, and conventions. But their core meaning is in their inherent differentiation, that we feel an innate and subconscious compulsion to express, and to associate with parts of other cultural sets.
Structuralist analysis of abstract forms in rock art, and art of pre-civilised, pre-literate, literate, and a-literate cultures, including Mayan or Mexican cultures, confirms that the core content of art is universal and subconscious, but within conscious reach due to the discovery of recurrent structured behaviour.
Artworks use figurative and abstract shapes interchangeably, along with many other variations allowed by the standard visual ‘grammar’ or ‘DNA’ of culture. Abstracts do not arise from conventional signs, myths, rituals, oto-visual (entoptic) experience, zodiacs, or alphabets. All cultural media equally contain abstracts.
Rock artists and schooled artists are ignorant of the details and layers of the structure they express. Even close study of cultural media by artists, does not affect the core content of art, nor the structural quality of expressions, which varies within narrow, predictable ranges.
Universal elements of cultural expression (after Furter 2014: p50-51, p82-84). Each of the 12 main types, or expanded 16 types, appears in all groups of eleven or more figurative or abstract characters in art or building sites (Furter 2016; Stoneprint). Each type is identified by one or more of its optional featues, totalling about 60% of the currently known features. The four potentially doubled types (1 /2 v 8/9, and 5a/5b v 12/13) have nearly identical options, but they usually express different options when doubled. The eyes of typological characters are always spaced on an axial grid, with the constant exception of type/s 12/13 on a chest, and type 11 on a womb. Recurrent features include certain species, postures, items, and/or shapes.
Below is the standard list of archetype, in sequence, each with their known features (some of which have known average frequencies of occurrence), after Furter 2014; Mindprint (Lulu.com, and Ingram), and 2016; Stoneprint, and updated in editions of Stoneprint Journal (Lulu.com). Among the types are listed the four intervening half-types or Baskets (which appear in four sectors between certain axes); and the two galactic cross-points; and two of the polar points. The other three polar points are listed after the types:
Mindprint or stoneprint structuralist analysis format
Cut and paste these labels, to identify characters and structuralist points on a map or artwork. Pairs of opposites are given above/below one another. Some pairs may remain unused, often the Cistas, or 1v8, or 5a v12. Use ? ? for extra figures that do not have a limb joint at one of the five poles:
Use this list to write a caption for the structuralist analysis of any complex artwork of building site:
1 and/or 2 Builder or Taurus; (twisted 48%, tower 22%, bovid 19%, cluster 14%, pit 13%, bird 10%, book 6%.
2c Basket; secret 17%, container 13%, woven texture 13%.
3 Queen or Aries; (long or bent neck 37%, dragon 14%, sacrifice 13%, school 11%, empress 9%, pool 9%, spring 6%, equid.
4 King or Pisces; (squat 25%, rectangle 20%, twins 11%, king 9%, bird 6%, field 6%, furnace. 4p Gal.S.Pole; (marked 65%, limb joint 50%, juncture, spout 13%.
5a/5b Priest or Aquarius; (assembly 30%, varicoloured 30%, hyperactive 30%, horizontal 30%, priest 15%, water 15%, tailcoat head, heart of 12, inverted of 12, equid.
5c Basket Tail; (weave, knot, riddle.
6 Exile or Capricornus; (egress/ingress 48%, sacrifice 13%, small 13%, U-shape 11%, tree, volute, reptile, amphibian, horned, double-headed.
7 Child or Sagittarius; (unfolding 17%, bag 13%, rope 12%, juvenile 10%, chariot 8%. 7g Galactic Centre: (water 15%, gate.
8/9 Healer or Scorpius; (pillar 50%, bent forward 30%, healer 11%, strength 9%, ritual.
9c Basket Lid; (revelation 15%, law enforcement 9%, disc, snake.
10 Teacher or Libra; (arms V/W-posture 50%, staff 17%, council 17%, guard 15%, market 8%, metallurgy 8%, crown /disc /wheel 10%, school 8%, canid, hunt master, ecology.
11 Womb or Virgo; (womb /interior 87%, mother 60%, tomb 13%, water 11%, library 11%, wheat 6%, law 6%. 11p Galactic Pole: (marked 81%, limb joint 68%, juncture.
12/13 Heart or Leo; (heart /chest /interior 85%, felid 20%, death 33%, water-work 30%, rounded 26%, bastion 22%, war 17%, weapon 13%, palace 11%, inverted).
13c Basket Head; (prediction 11%, texture 6%).
14 Mixer or Cancer; (ingress /egress 50%, bird 10%, tree 6%, canid.
15 Maker or Gemini; (rope 30%, order 25%, bag 10%, face 10%, doubled 10%, pool 8%, canid 8%, creation, churn, sceptre, mace, rampant. 15g Galactic Gate; (gate 20%, river 6%,
Axial centre; Usually unmarked (limb-joint 26%, juncture),
Midsummer or celestial pole; (limb joint or juncture 50%).
Midwinter or celestial south pole; (limb joint or juncture 37%).
The vertical or horizontal plane (or cardinal direction on a building site) confirm/s nidsummer in/between axes 12/13/14/15 or Leo12 /Cancer /Gemini, thus spring and the cultural time-frame in Age Taurus1 /Taurus2 /Aries /Pisces /Aquarius5a; often confirmed by emphasis on the character expressing the spring point.”
Two structuralist analyses of artworks by Shawn Thornton, using cosmology labels (generic labels used after 2018 appear above).
This artwork may be part of a larger artwork, which probably has its own mindprint, including some of the major characters in this detail. ‘Nuclear’ imprints are typical of highly complex artworks and building sites (such as the Vatican City mindprint, while St Peter’s cathedral expresses the type 3 Queen or Aries of the larger Rome mindprint).
PD Newman on the pineal gland as inner eye
Here are some extracts from a discussion of various psychoactive drugs, and their stylistic occurrence in cultural crafts such as alchemy, symbolism, art, ritual and religion, on http://grahamhancock.com/phorum/read.php?8,1130498,1131017#msg-1131017
posted in 2017 -2018, prompted by an article on acacia gum by PD Newman:
PD Newman; ‘In an attempt to discover the source and function of endogenous DMT production in humans organism, Dr Rick Strassman at the University of New Mexico conducted government sanctioned research with a scheduled psychedelic. DMT was largely unknown to the Western world, up to Strassman’s book; DMT: The Spirit Molecule. The research was funded by the Scottish Rite Schizophrenia Research Foundation, a subsidiary of the Northern Masonic Jurisdiction of the Ancient and Accepted Scottish Rite [in the USA]… The most probable source of endogenous DMT production in humans is the pineal gland, which has “a lens, cornea, and retina. It is light-sensitive and helps regulate body temperature and skin coloration, related to environmental light,” or third eye. [However this conclusion is not universally accepted. See http://www.dmttimes.com]
“In daylight, the pineal gland induces serotonin, which regulates appetite, mood, body movement, and other regulatory functions. A night, it produces melatonin, which regulates sleep patterns and body coloration.
The pineal may secrete DMT at psychedelic levels, at extraordinary experiences, enabling conscious experience of our life-force or soul. When our individual life force enters our foetal body, as we become humans, it passes through the pineal and triggers the first flood of DMT.
At birth the pineal also releases DMT. It may mediate experiences of deep meditation, psychosis, or near-death experience. At death, life-force leaves the body through the pineal gland, releasing DMT.”
Thus the pineal gland may be the seat of the soul, and DMT the catalyst. Some people use the compound as a sacrament.
In 2013, Cottonwood Research Foundation Inc announced that DMT is found in the pineal glands of rats.
René Descartes had proposed a similar function for the pineal gland. In Inter-Relation of Soul and Body, he wrote that the soul exercises its function particularly in the pineal. “suspended between passages containing animal spirits [reason, sensation and movement], that it can be moved by them…; and carries this motion to the soul… Conversely, the body is so constituted that when the gland is moved by the soul, or by another cause, it pushes the animal spirits to the pores of the brain.”
The pineal is the only single, not duplicated organ in the human brain. Thoughts and creativity may arise here. The acacia sprig in Freemasonry could refer to insight, and the tree of knowledge of good and evil. WL Wilmshurst wrote in 1922; Meaning of Masonry; “the entire nervous system contributes to charge certain ganglia, and light up certain brain centres, in a way of which the ordinary mind knows nothing… It is a mystery of spiritual consciousness, efflorescence of the mind in God, opening of human intelligence, in conscious association…”
McKenna noted that “a compound which each of us carries… in the ajna chakra; the philosopher’s stone… how can this be secret?” -PD Newman.
[Edmond Furter commented; The pineal gland is a temperature sensor in dynosaurs and their survivors, on top of the flat skull, for comparing internal and external temperature. Mammals have brains intervening, with a sturdy little bone cradle for the pineal at the base of the skull, near the spinal cord. Thus it reacts to indirect data, like most of our senses. There is some delay in the temperature equation, even for months, allowing us to delay homeostasis. Visions may perhaps be partly due to oto-temperature emissions, similar to oto-acoustic and oto-visual (entoptic) emissions.
In reflexology, the pineal node on the hand is on the index finger (which some gynosophic traditions press against the thumb in mediation) at type 4p, analogous to the Galactic South Pole). In the iris the pineal node is in the eleven /one o’clock positions, at type 15g (Galactic Gate). In our teeth the pineal node could be right top six, with the eyes node, at type 15g (Galactic Gate), but an alternative analysis of the fourfold set of reflects in teeth, charts this tooth as type 7g (Galactic Centre). In our inner ears, the brain stem is on the seven o clock position, at type 15 Maker or Gemini. Thus our pineal gland, between the spine and the brain, in cosmological terms, expresses the two galactic ‘gates’, where the ecliptic and galactic equators cross (one of which is adjacent to the galactic centre); and perhaps the two galactic poles. If the myth map in star lore could reveal anything about the role of the pineal in cultural terms, it may be sought in the archetypes attached to the gates, sometimes pictured as short or angled pillars with spiral churns; and to 11p Coma Berenices (Hair of Berenice), sometimes pictured as a baby in a lotus flower, on the same axle as Crater (Grail); and 4p Cetus spout, on the same axis as Pegaus neck. Esoteric literature in this context seems to favour the 7g pillar of Ophiuchus, as in the Apprentice Pillar of Hiram Abiff; and 11p as Aion, angel dangling head down from the ecliptic pole and Bootes’ hand; and Crater, Grail or head. These motifs all seem idiosyncratic, incidental, and legendised history, until they are studied in structuralist context. I demonstrated that we subconsciously express a very rigorous universal structure in artworks and building sites, with some evidence that the same applies to myth, ritual and calendars too. Now the question is no longer when and where archetypal motifs ‘come from’, but to what extent we subconsciously collude to engineer archetypal events, and selectively record and imagine events. And to what extent our endocrine system, glands, nerves and senses participate in the bigger picture of perception and re-expression.]
-Barbelo, alias PWH, commented on PD Newman; ‘I agree that the ancient myths, texts, star lore etc has more than one application. But the invisible precedes the visible, and it’s near impossible to convey the meaning of the invisible. Inner workings… were discussed in outward terms, analogy, story, star myth, totem, iconography… the journey up the Tree is a personal experience… [crafts] start aspirants on the path, and guide them as best as possible. The winged bird-man holds a pine cone pointed at the pineal gland. Who was first?’ -Barbelo /PWH.
[Edmond Furter commented; There are no ‘firsts’ in the expression of archetype. Every expression is equally ‘original’, and all expressions imitate similar types from various media to some extent. Correspondence theory assumes simplistic diffusion, and thus assumes starting points for everything. Nothing ever originated at a specific place or time, and nothing is ever lost. Even technologies are pre-existent and eternal, and are merely resumed when resources such as population enable them.]
PD Newman; ‘It is all about inner experience… In Jungian psychology, Tiphareth may be related to the transcendent function and to the archetype of the self, toward which the process of individuation strives. It is conjunction, union of opposites, merging of conscious and unconscious.
In his book ‘Strange Fruit,’ Heinrich relates the prevalence of mountaintop enlightenment scenarios to fly agaric mushrooms found there.
Traditions depict Moses with horns, perhaps the Hebrew word for ‘shining’, but Alexander was also depicted with horns in Islamic art. Broker commented; “Horns convey eminence, loftiness, power, as of horned animals. See Apollo-Karneios, and Dionysos. Alexander adopted the emblem of Amon, ram, in the Egyptian Book of the Dead he is Lord of Two Horns. In Chinese myth, the terrible Ch’e Yu is horned. Huang Ti could only defeat is only by blowing on a horn. He used his rival’s standard, which bore his portrait and strength. In Gaul and elsewhere, warriors wore horned helmets. But it is not only about physical strength.
Horns of oxen signify fertility (Menghin, in Eliade; Patterns in Comparative Religion, p164).
In Jewish and Christian tradition, horns are equated with a ray of light or a lightning flash, as in Habakkuk3;4 ‘His brightness was as light, horns coming out of his hand.’ Moses descends from Mount Sinai (Exod34;29); ‘he wist not that his face shone’. Four horns of the altar of sacrifice exprfess four quarters of space, as cosmic extent of God’s power.
In Psalms, horns symbolize God’s strength, ‘The Lord is my rock… my buckler, the horn of my salvation’ (Ps18;2). It borders on aggression and pride; ‘Lift not up your horn on high, speak not with a stiff neck’ (Ps75;4). Horns are a boon; ‘I will make the horn of David to bud’ (Ps132;17).’ PD Newman replied; ‘Jung also commented at length on the symbolism of horns in “Aion” (CW 9:2), IIRC… Huxley discusses his experience with mescaline, the active compound of Lophophora williamsii, or peyote cactus. Regarding ergot [LSD], see Wasson, Hofmann, and Ruck; Road to Eleusis. -PD Newman.
Here are some images from my paper on abstract artworks (in the anthropology journal Expression 13), to compare to modern abstract artworks.
A ‘Hittite hieroglyphic text’ (after Gelb 1939. Cosmology labels and axial grid by E Furter). The figures and abstracts may be myths, hours, months, gods, stars, or syllables; derivative or original. Either way, they subconsciously express the standard archetypal structure:
2 Builder or Taurus; Bird (bird, see swift people, Furter 2014: 108-109), wing twisted (twisted).
3 Queen or Aries; Dolphin /crayfish (Triangulum and Cetus tail myths. See Tarot trump 18, moon over dragons and crayfish), with bent tailfins (more often bent neck).
4 King or Pisces; Hand, ‘Child’? (king?), with ribbon? (Horus Eye shape?), and another on the same axis (twinned). 4p G.S.Pole; Thumb (limb-joint).
5 Priest or Aquarius; Rectangles (Pegasus myth). See H/I-shapes at Gobekli Tepe (Expression 9: 22).
5c Basket Tail; Curve. C-types are off the axial grid, but in sectors between specific axes.
6 Exile or Capricornus; U-shaped camp (see Narmer palette).
7 Child or Sagittarius; Curve (rope? Or adjacent 7g Galaxy). 7g Galaxy; Radiant Cone (brightest area).
9 Healer or Scorpius; Scales, ‘High king’ (Ophiuchus myth), arms out, healer, pillar; and an ankh person (healer, and pillar).
9c Basket Lid; Crown? (cover. Corona myth).
10 Teacher or Libra; Womb (exchanged with 11), arms forward (arms V/W posture).
11 Womb or Virgo; Woman, large eye (her womb exchanged with 10, perhaps by subconscious confusion of opposite 3 Queen or Aries dolphin, as 4 King or Pisces fish. Cetus /Whale is a decan of both). The halved circle could mean ‘womb’, or adjacent 11p Galactic Pole. See the circle at the pregnant vulture at Gobekli Tepe (Expression 9: 22). 11p Galactic Pole; Heel (limb-joint).
13 Heart or Leo; Purse /weight, ‘Man’ (heart), horizontal (invert).
14 Cancer; Falcon (bird), under a crook (decan Ursa Minor).
15 Gemini; Face /speaker /creator /eel (rope)? And a doublie (doubled). 15g Gate; Curve (crossing or path?).
Brazil, Pedra Pintada engraving of an oval shield or palette with abstract characters, and geometric signs in a border (after Homet 1962. Mindprint labels and axial grid by E Furter). The copyist may have imposed some styling, thus perhaps a variant structure. This is not an alphabet or text. The border characters are more abstract, like determinants, perhaps divinatory, but also decorative. The archetypal structure is:
1 Builder or Taurus; Twisted (twisted) dragon (more usual at 3).
2 Builder or Taurus; Bird (bird) with neck twisted (twist).
2c Basket; Dragon body (cistas are usually off the grid).
3 Queen or Aries; Dragon with a long neck (neck long/bent).
4 King or Pisces; Man’s head (more usual at 15). 4p G.S.Pole; Headband tassels (varicoloured of 5).
5b Priest or Aquarius; Cocoon or mummy tailcoat-head (of adjacent 6), reclining (30% horizontal).
5b Priest or Aquarius; Heart (often as its opposite, 13) of a bauble (varicoloured), reclining (horizontal).
5c Basket Tail; Snake tail (tail).
6 Exile or Capricornus; Horned snake? (horned; snake).
7 Child or Sagittarius; Rope animal (rope).
8 Healer or Scorpius; Cocoon or mummy (more usual at 7).
9 Healer or Scorpius; Placenta, or bauble baby (child is more usual at 7), bent sideways (bent forward), OFF THE GRID or opposite a character in the bird’s throat
9c Basket Lid; Woven (texture).
10 Teacher or Libra; Woman (usually a man), W-posture (arms up), with sceptre (staff).
11 Womb or Virgo; Womb (womb). 11p G.Pole; Hair? on bellows?
12 Heart or Leo; Puma (felid).
13 Heart or Leo; Heart (heart) of the puma (felid), under a sun? (former summer).
13c Basket Head; Mats or hoed fields (texture), and a weaver or ploughman.
14 Mixer or Cancer; Hoe? (decan Ursa Minor), over a star (celestial pole); far from the centre (egress).
15 Maker or Gemini; Rope and bag man (rope, bag).
Archetypal structure in a rock art cosmogram
In the Brazilian engraving copy, the celestial poles may be on the vertical plane, placing summer in Cancer, thus spring and the cultural time-frame in Age Aries. The general theme is type 3 Queen or Aries, of long and bent necks (three animal shapes, and a hat top, and two baubles), and palette or shield shapes (as in the border. See the Narmer palette, in Furter 2014: 118). Compare transitional ambiguity with polar decans.
The structuralist analysis score….. [see a scoring format update in later posts]… is about 62%, near the average. Abstract shapes are as capable of structural expression, as figurative art is.
Psychograms express structure, enabling meaning
Viewing recurrent rock art geometric shapes as pictographs or proto-syllables, is speculation, based on paradigmatic developmental assumptions about ancient art; not supported by studies of historic art (Gombrich 1979); nor linguistics (Chomsky 1991). We could interpret abstract ‘signs’ as psychograms (Anati 2010), in the sense of universal, compulsive, subconscious expressions, of elements of narrowly variant archetypal structure. Anthropology could study visual elements, as linguistics study grammar; as sociologists study inter-relationships; as physics study chemistry and mathematics. We learn more of culture, its crafts, perception, and ultimately of nature, from the structure of artefacts, than we learn from the conscious meanings that various re-creators imagine that they express, or convey, or explain. Art is as deceptive as grammar. Most people view it as logical and incidental accumulation of conventional rules, passed along by learning, and ‘developed’, while it is innate and eternal. Language seems to be wholly abstract, and arbitrary, but under the layer of conventional allocations of short strings of sounds to meanings, lies a hard-wired structure, that requires only a few social prompts to apply to various media (gestures, sounds, items, signs), and thus transform media into a ‘carrier wave’ of meanings. Mindprint reveals variant ‘meanings’ to be as rule-bound as the innate structure.
Art is too laborious to serve fickle ‘here and now’ communication, however it is more immediate, but more subconscious, in reading, than language. Art has a higher function, to express the core content of nature, perception, and culture, in an apparently endless variety of combinations and styles. Abstract signs seem to be abbreviated psychograms for more elaborate styling, perhaps a visual shorthand for culture. However their core functions could not be separated from picture characters, nor from the five layers of structure, which is the abstract matrix of all possible meaning. ‘Abstract’ also means recall, evocation, and conjuring of the absent. Pictures and signs both invite the assumption that art is primarily a record or events or imagination, with some decorative or poetic structure added for entertainment. However art evokes, distills, abbreviates, elaborates and distorts as well, or better than language.
Our ability to learn pictograms and hieroglyphs of foreign cultures, illustrate the universality of cultural structure. Gelb (1952) wrote that “Chinese writing appears in the Shang dynasty, as a fully developed phonetic system. Its outer from has change greatly in the course of its long history, but its inner characteristics of the oldest inscriptions hardly differ from recent times.” If Chinese and Egyptian hieroglyphic sets expresses, over millennia, the same five-layered structure that art is now found to express, then our definitions of art, pictogram, sign, ideogram, psychogram, hieroglyph, alphabet, communication, grammar, ritual, culture, and human, should involve the concepts of archetype. Anthropology may have to leave ‘evolution’ to biology; ‘diffusion’ to technology; and ‘crypto-astronomy’ to conspiracy theorists. Structural study of art, including abstract rock art, has significant implications for several human sciences.
Some sources and references
Allen, R.H. 1899 Star names and their meanings. USA: Stechert. Glastonbury: Lost Library (facsimile imprint)
Anati, E. 2010 World rock art: the primordial language. Oxford: Archaeopress
Butin, R.F. 1932 Protosinaitic Inscriptions. Harvard Theological Review, Vol 25 No.2
Chomsky, N, and M. Halle. 1968; 1991 Sound pattern of English. London: MIT Press
Furter, E. 2014 Mindprint, the subconscious art code. USA: Lulu
Furter, E. 2015a Gobekli Tepe, between rock art and art. Expression 9: 21-25
Furter, E. 2015b Art is structural magic, not illustration. Expression 10: 15-22
Furter, E. 2016 Abstract signs reveal archetypal structure in culture. In Expression 13, Sept
Furter, E. 2016 Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg
Furter, E. 2017 Pictish Beasts. Stoneprint Journal 1, p1-16. Four Equators Media, Johannesburg, and Lulu.com
Gelb, I.J. 1939 Hittite hieroglyphic monuments. Chicago. Fig 38
Gelb, I.J. 1942 Hittite hieroglyphs, iii. Chicago. Frontispiece table
Gelb, I.J. 1952 A study of writing, Chicago: University of Chicago Press
Gombrich, E. 1979 Sense of Order. London: Phaidon
Homet, M. F. 1962 Sons of the sun. São Paulo: Ibrasa
Neugebauer, O., and R.A. Parker. 1969 Egyptian astronomical texts III; Decans. Rhode Island: Brown University Press
Newman, PD. 2017-2018. Comments and replies to comments on his own Author of the Month article on acacia drugs and the pineal gland, http://grahamhancock.com/phorum/read.php?8,1130498,1131017#msg-1131017
Roe, P.G. 2007 A further exploration of the Rowe Chavin seriation. Studies in pre-Columbian art and archaeology, Vol. 13
Sass, B. 1988. Genesis of the Alphabet and Its Development in the 2d Millennium BC. Wiesbaden: Otto Harrassowitz
Schmandt-Besserat, D. 1981 From Tokens to Tablets: A Re-Evaluation of the So-called Numerical Tablets. Visible Language 15: 321-44
Steiner, G.F. 2016 Goddess and the copper snake: metallurgy, star-lore, and ritual in the rock art of Southern levant. Expression 12: 73-92
Steinhilber, B. (Gobekli Tepe pillar D43 photograph). Germany: DAI
Tresidder, J. 1997, 1999 Watkins dictionary of symbols. London: Watkins
Tsikritsis, M. 2015. Astronomical and mathematical knowledge and calendars during the early Helladic Era in aegean ‘frying pan’ vessels. Mediterranean Archaeology and Archaeometry 15(1):135-149, January
Vlassa, N. 1961 (Tartaria tablets); Prehistory.i/ftp/arta_populara
Von Petzinger, G. 2016 First signs. Canada: Simon & Schuster
Author Alistair Coombs posted a link to some Ice Age engravings in support of his correspondence theory of the diffusion of attributes of the Pleiades and Ursa asterisms (http://grahamhancock.com/phorum/read.php?4,1128408,1128408#msg-1128408). Mindprint author Edmond Furter demonstrates that correspondences run much deeper than a few hearsay tales. Here is an extract of part of the debate.
“Alistair, you affirm your view that “cultural diffusion routes… reflect DNA migration trails”, traceable in asterism personification variants.
But DNA is mixed, with few links to localised culture. The only inborn culture is universal.
You cite songlines “associated with astronomy at a national level” of scale in Australia.
But diffusion and standardisation of asterisms does not imply that incidental details of personification are developmental; nor that culture arises from diffusion.
You link my work to “David Lewis-Williams… mythic patterns neurologically generated rather than observed in culturally isolated traditions, which might account for similarities, like Jungian archetypes.”
But Lewis-Williams never uses any concepts or terms related to archetype or Jung. He summarised his recent position (2012) on ethnography as ‘individual idiosyncrasy, within a cultural framework’. He cites Megan Biesele on cultural motifs that may or may not ‘catch on’. This agrees with your paradigm of development and diffusion.
My research findings support and develop Plato, Jung and Levi-Strauss, not the cognitive trance dance rationalisation school.
You write that cognitive archaeology ignores astronomy.
But there is very little astronomy in cultural media. Babylonian, Sumerian, Indian, Chinese and Arabic decans and artworks, for example, are all mutating sets of calendric characters (Neugebauer and Parker 1996), useless for observational astronomy except as more or less arbitrary labels. Culture does not come from the sky, and is not sustained by the sky.
We agree that “zodiacal conceptions are not entirely neurologically generated,” but for different reasons. My research indicates that layers of archetypal meaning and structure are inherent in nature and in perception, with some inherent options allowing economic polities some differences, and a thick layer of stylisation (such as different sound strings in languages).
You doubt my finding of a “universal, subconscious, compulsive impulse” for “sounding elaborate”.
But the human sciences have fallen behind natural sciences partly due to populist simplification. I had found the ‘periodic table’ of culture, which simplifies the study of culture, by charting its quirks and structural complexities. Your diffusionist paradigm sounds like alchemical correspondence theory, before discovery and eventual acceptance of the periodic table. And it sounds generally true, meaning that it is not testable, in Popper’s definition of science.
You found that ‘the Pleiades came to be associated with flood… after being seven pursued maidens… more abstract parts of Taurus… both remain in cultural memory.’
But there is no secure way of dating the various attributes of this archetype. I listed about five or six attributes of type 2 Builder or Taurus, in my initial comment above. These attributes have always appeared at fixed average frequencies in artworks and building sites worldwide, anciently and in modern times, and will continue to do so. Archetypes are not man-made, and do not arise from major events. Events express archetype.
You found Taurus and Orion “less problematic than Ursa and the Pleiades, because Taurus [Hyades] reasonably resembles a bull or horned beast; and Orion resembles a man.”
But V-shaped buccrania are rare in art (see Gobekli Tepe images in the link I gave in my initial comment). Hyades and Orion-Auriga star lore is complex (Allen 1899).
You note that “Ursa and the Pleiades resemble each other in shape.”
But culture is more complex than visual gestalt (making wholes from suggestive parts based on relative proximity and magnitude). Egyptian myth links them since they are 90 degrees apart, former spring to former midsummer, equinox to celestial pole; and both have seven major stars. That common knowledge prompted conscious recognition of the archetypal motif of spring sacrifice, at the time of a bull foreleg, cast to the polar region as a severed foreleg-bull, and later a smaller one when the celestial pole and thus midsummer moved closer to Ursa Minor.
We agree that “Ursa does not suggest a bear, and Pleiades do not suggest a group of women.” But archetype prompts the rest of the picture, ritual, calendar, myth map, and compromises with peculiarities of diffused crafts, such as religion and legend.
You found that asterisms “came to represent different things to different cultures across time and space, which may not warrant input from an archetypal paradigm.”
But most star lore (Allen list all the known features from classical and modern sources) expresses almost all the elements of cultural structure, and few superfluous ones (which are often due to conscious correspondence theory ambiguation, or interference, and to a few inherent ambiguities, of which I have identified five, in Mindprint 2014). The archetypal paradigm confirms that asterisms and other cultural features do not “become”, and do not “represent things”. Star lore, myth, calendar, ritual and building sites did not start on blank canvases, and do not rest on idiosyncratic foundations (which do not eventually “become” cultural frameworks, as the current “scientific” paradigm assumes).
You note that ‘sevens might be archetypal, but also [arise from] language systems… meaningless [in the] Palaeolithic era.’
But language, which you probably equate with evolving cognition, does not dictate art, calendar, ritual or practical crafts. My research indicates that cultural media do not, and thus did not ‘evolve’. Paleolithic assemblages are complex and complete (textiles, needles, buttons, jewellery, cosmetics, fire, art, ritual, calendar, myth), lacking only metals, probably due to lack of population. Stone Age language was probably equal to any language, with stone, bone and mastic terminology instead of metallurgy.
You found that “The Pleaides came to represent a central role in the cosmologies of different cultures.”
But the function of every part of cosmology depends on the other parts. The Pleiades are meaningless without Sirius in Gemini, Hydra under Cancer, Regulus in Leo, Spica in Virgo, Antares in Scorpius, the three visible poles, three equators, and the rest of the ‘story’.
There is only one cosmology, with several different format options (ecliptic, celestial, galactic; months or hours; geometric or mythic; and so on).
Your partly agree with me, that “co-incidences of migration and trade routes with cultural elements, form a circular argument that reveals nothing about culture or humanity, unless it is studied in the archetypal paradigm,” but you remain in the conscious, developmental, diffusionist paradigm: “how ancient or extinct people storied their skies.” But our species is not extinct. Neanderthal, Denisovan, Flores and other mutational variants could re-appear.
You are working on “an early observational history… and genetic trail linking Siberia, North America, Melanesia and Australia… how such identities might remain in isolated groups for unexpectedly long periods… looking at the same constellations.”
But the same dots in the sky alone do not account for the correspondences, as you acknowledge. Nor does cultural contact. Archetypal expression of culture in various media is a simpler explanation.
We agree that the Seven Sisters and other characters “likely stem from very deep, archaic sources,” but you add the term “from observation”.
If our sky was as opaque as that of Venus, we would have used other canvases, such as long lines, geoglyphs, landmarks and building sites more extensively.
You do not see archetype at work in “what determines what we see in an asterism, other than resemblances.”
But Plato and many other philosophers found archetype to be inherent in nature. Your assumed detailed diffusion does not even explain all the visible correspondences between cultures separated in time and space. And you offer no explanation for the five layers and about 75 features of identical structural in 600 artworks and building sites, many of which I have posted a link to above.
For the Pleiades, you propose “a cosmic hunt theme, reformulated into a flood narrative, retaining earlier actors or depictions of space.”
But some Pleiades lore and images do not involve a hunt. And some flood stories do not single out the Pleiades.
On Ursa, you cite Asiatic-American parallels of Ursa as a bear “of immense antiquity”. Meaning Ice Age art.
But Ursa is not always a bear. And bear images do not all express Ursa. See the structuralist analysis of a doubled mindprint in the Trois Frere cave engraving, Mindprint p150-151, also via my link above, or in my GH AOM September 2015 article, where a bear frontal face, top left, subconsciously expresses type 15 Maker or Gemini.
Or see the structuralist analysis of the Trois Frere ‘Sanctuary’ engraving to which you posted a link, where a baby bear frontal face expresses an extra type 1 Builder or Taurus [here labelled 2Ta in error, it should be 1Ta, as the 1Ta elephant on the same axis], which the sky expresses as Auriga and Orion. Its outer eye expresses type 15g, which in the sky is the Galactic Gate and Polaris at the Ursa Minor (Small Bear) ‘hoof’. Art is not cosmology or astronomy of course, but all media express aspects of archetypal structure. The frontal face does not seem to be graffito, since this panel has some unusual false starts or later additions (mostly between types 8 and 9 Healer or Scorpius). [UPDATE; If it is graffiti, it does not disrupt any of the five layers of archetypal structure that artists and sometimes collaborators express.]
You warn researchers to ignore ethnographic sources of the last 100 years, to avoid contamination by “the information bubble”; and you cast suspicion that archetypal theories are contaminated by mass media, and thus diffusion mistaken as subconscious inspiration.
But standardisation had started in the Egyptian empire, and the Greek world, and the Chinese empires, and expanded in the Roman Empire; thus the last century is a random number. Notable recent ‘savage’ exceptions include the Picts in Scotland (see Stoneprint Journal 1; Pictish beasts, at http://www.stoneprintjournal.wordpress.com), yet even there some Germanic, Scandinavian and Norse influences are visible.
The level of archetypal detail that I have isolated in cultural media, rises above diffusion and imitation. And in some examples, diffusion is entirely ruled out (as in the faint engraving in the recently opened Berriruata cave in Spain, sealed off for millennia, see my article in the anthropology journal Expression).
There is probably no diffusion between the Trois Frere examples and anybody anywhere, yet several artworks in that cave express mindprint in as much detail as any artwork anywhere, at any time. The list of archetypes that I give above, could be used to write a caption for the artwork (that you chose to support one of your points), by simply deleting the features that are not expressed; but are expressed in other Ice Age artworks. The same applies to Gobekli Tepe, Sumer, Babylonia, Egypt, Greece, Rome, the Picts, and about ten artists whom I know personally. They were all astonished when I demonstrated to them the extent of their subconscious repertoire. But they remain calm and keep on ‘designing’ artworks. As I expect that correspondence theorists will keep calm and keep on calculating diffusion routes, until a hundred of them have seen a hundred examples of mindprint in their data.
The explanation for this over-determined set of correspondences, and the study of culture, and the implications for who we are, has to involve archetype.
Alistair, I believe our irreconcilable differences are all paradigmatic. We look at the same data from different perspectives.
Extract, summary and index to the book Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016). Stoneprint expands the demonstration of our subconscious behaviour, from visual art, to ancient and modern building sites.
Architecture reveals our subconscious building code
Our huts, houses, kivas, circles, pillars, fortune bowls, art, game boards, temples, pyramids, cities, constellations, geoglyphs and graves, say much more about us that we ever knew. Structural analysis reveals the universal repertoire in our subconscious behaviour. The structure also says more about culture and nature than we ever knew, but had glimpsed in nature. We imprint a natural, abstract structure of five layers, including sixteen characters in sequence, on an axial grid, in all our complex artefacts. The same structure appears in the periodic table, and in reflexology points in our hands, eyes, teeth and ears. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, thus the ‘cultural record’, is now readable, with significant implications for cultural crafts, and for the human sciences of art history, archaeology, anthropology, philosophy, psychology, sociology and communication science. The formerly ‘invisible’ layers of our perception and expression, or human code, now offer the opportunity to integrate the conscious and subconscious halves of crafts, sciences, and culture. Our works re-express nature, and our place in it. Culture does not ‘come from’ any of our media, but from archetype, the potential that enables nature to express self-replicating and mutating energy. Our re-expression of archetypal structure could be named stoneprint, the human code. The core content of any old or new culture is as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material. This book demonstrates our subconscious expression of archetypal structure by a tour of celebrated building sites worldwide. There is indeed ‘something much more mysterious’ going on, but it is not fantastically ancient, nor distant, nor advanced, nor extinct. Many of us express it.
Gombrich posed this opening statement in The story of art; “There is no art, only artists.” In that view, Da Vincis and Picassos create the medium. Stoneprint demonstrates the opposite. Art and architecture have narrow repertoires, capable of description, thus there is art, and art enables artists. There are no Da Vincis or Picassos without the universal subconscious human code. Neither Da Vinci, nor any artist or mystery school, was aware of the visual grammar that they did not see, but could not contradict. Archetype, structure, and culture existed before we did, and before the universe, and will outlive the cycles of its expression intact. Whether we are few, as when we built the houses illustrated in the Ice Age chapter; or many, as when we built the pyramid fields and cities illustrated in the historic chapters; we express the core content of culture in all our media, with as much apparent variety as possible. Stylistic differences fade when the core content of culture is revealed. We all build, draw, talk, trade, count, strategise, pray and fight the same. Stoneprint reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes.
We will continue designing art and buildings by intuition, but we will never see or study our works with half our brains again. The revelation starts with a testable definition of the subconscious structure in art and buildings. Then we query each esoteric craft, and each human science, on the abstract elements in culture and nature; and test the structure in 130 artworks, geoglyphs, buildings, temples, pyramid fields and cities.
Stoneprint reveals culture as directly rooted in nature; and as perpetual, universal, standard, and subconscious. This is much more mysterious than supposed ancient Atlanteans with magic building methods.
The core content of any old or young culture, is as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material. Stoneprint demonstrates our subconscious expression of archetypal structure, by a tour of celebrated building sites worldwide…….
[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com ]……..
Structural analysis reveals ‘grammar’ in the cultural record
Stoneprint reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes. We will never see or study our works with half our brains again.
The discovery of stoneprint in ancient and modern buildings, is the second call on the human sciences, and on popular culture, to replace the fundamental and supposedly ‘common sense’ paradigm of culture as ‘developed and evolved’, with the paradigm of subconscious structural expression. The first call was in the book Mindprint (2014), focusing on structural analysis of art and rock art. The first call on archaeologists was made in a paper presented at the ASAPA conference in Harare in 2015 (UZ, in press for 2019). The first call on anthropologists was in the international magazine Expression (2015 editions 9 and 10; 2016 edition 13).
We are unwitting instruments of structure. Yet we seem incapable of facing the evidence of our subconscious behaviour.
The challenge that the results of structural analysis poses to science, now includes hard evidence from chemistry, physics and architecture. The challenge to culture remains the same that our split-brained consciousness had always posed; to dramatise and integrate our subconscious perception, into our conscious minds. This is the challenge that healers, including Jung, pose to individual people and to our globalising society.
Chemistry and physics have their structural study in the periodic table. Language has its structure in grammar. Medicine has its structure in cells and DNA. The humanities and cultural crafts are lagging behind in our current cultural maturity cycle……
[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com ]……..
Motivation for the book
Edmond Furter wrote Stoneprint to redress the imbalance in the scientific paradigm, and in popular culture. Most human sciences, particularly Art and Architecture, are little more than craft training courses, designed to produce artists and architects, and to activate the inner artist; but not to train art researchers. Esoteric crafts training suffer from the same practical approach. Practitioners train practitioners, who seldom study the natural and psychological matrix that enables their crafts.
Furter commented on the book: “I was fortunate to find the five-layered structure in rock art; baffled to find it in ‘fine’ or ‘free’ art; doubly fortunate to find sufficient references to place it in context with crafts and sciences; and triply fortunate to demonstrate how we express it in mud and stone. I did not invent stoneprint, I found it, and invested six years in explaining it.”
“The quest in the book Stoneprint is: What is culture, and whom does it serve? It seems that our works serve more purposes than we consciously knew. We serve universal culture; which serves nature, which serves archetype, which is an end in itself.
“In Stoneprint, I examine the wonders of the human code in 130 works of nature and culture, in the context of crafts and social sciences, to raise subconscious behaviour within reach of our conscious minds.”
Stoneprint, the human code in art, buildings and cities, includes these themes and sites:
The Five levels of structure in cultural media
Alchemy: Crafts reveal chemistry
Chemistry reveals biology
Kabalah: Natural philosophy correspondences
Poetry: Blake’s London- Jerusalem- Golgonooza
Astrology: Calendars reveal divination
Cosmology: Direction is everywhere
Art History: Perception reveals gestalt
Archaeology: The World Archives challenge
Anthropology: Artefacts reveal structure
Popular Anthropology: Who did it?
Psychology: Behaviour reveals archetype
Philosophy: The universe reveals archetype
Communication Science: Structure is the message
Sociology: Behaviour reveals our self-image
Science and esoterica: our split consciousness
Natural elementary maps
The periodic table
Reflexology in our hands, eyes, minds, teeth, ears,
The Piacenza bronze liver double circle of gods
Piacenza city and its walls are cultural stoneprints
The Maikop silver bowl paradise
Mapungubwe’s gold foil oracle reconstructed
A Venda divination bowl
Pedra Pintada engraving oval, and pentagons
The Bulgarian Karanovo tablet answers questions
Ice Age sites
Turkey: Gobekli Tepe house C, D, B, A
Gobekli Tepe excavation and radar maps
Turkey: Gobekli Tepe pillar D43, a culture portrait
Spain: Malta’s Mnajdra double stoneprint
Spain: Malta’s Gigantija double stoneprint
Spain: Hal Saflieni’s underground stoneprint
Scotland: Skara Brae plans
Scotland: Jarlshof wheelhouses and site recycling
Early civil sites in Sumeria
Babylonia was a stoneprint in clay brick
Babylon city, a vortex of dispersion
King-priests Ur Nanshe, and Gudea built temples
Assyria: T-pillars and Y-tents in an army camp
Early civil sites in Egypt
Sakkara, first royal campus, and a stepped pyramid
Teti’s pyramids form a stoneprint in Sakkara
Giza pyramid field stoneprint
Kings Valley tombs are underground stoneprints
Queens Valley entrances lost and found
Edfu temple is a double churn
Senmut’s ceiling stoneprint is half zodiac, half duat
Civil outpost sites
Nubia: Meroe pyramids speak with their doors
Egypt: Nabta Playa slab field counts four Ages
Egypt: Hawara labyrinth in Kircher’s Gnostic vision
Nubia: The cornucopia of minister Huy
Palestine: Jerusalem temple mount hybrid
Palestine: Jerusalem, womb of three religions
Judea: Masada, a military stoneprint
Turkey: Nemrut hill, crossroad of Persians and Greeks
Australia: Elivna rock pavement engraving
Ethiopia: Axum is an ark of spiritual mysteries
Ethiopia: Lalibela temple field of bedrock ‘hearts’
Ethiopia: Lalibela’s Mary church; womb in a womb
Prehistoric European sites
Ireland: Drombeg house, a cosy double stoneprint
England: Avebury and Silbury landscape
England: Stonehenge counted three ages
England: Damerham circles in radar scan
England: Stonehenge landscape radar scan
England: Stanton Moor landscape; boulders and ‘ladies’
Greece: Phaistos palace, the other Greek labyrinth
Germany: Magdalenburg mound graves
Scotland: Stennes stone circle
Scotland: Cochno stone concentric engravings
Zimbabwe: Great Zimbabwe, landscape with a womb
Zimbabwe: Great Zimbabwe queen’s yard with a womb
Zimbabwe: Nhunguza and Penhalonga metallurgy floors
South Africa: San Bushman painted stoneprints on rock
Mali: Nature and culture on a Dogon mud wall
South Africa: Lydenburg concentric engravings boulder
A Buddhist wheel of life landscape panorama
India: Sanchi temple gate pagoda engraving
Nepal: Kathmandu palace square temple complex
China: Beijing Temple of Heaven park, an Aquarian cosmos
China: Choukungmu pyramid fields need more research
Japan: Nara Basin Horyuji temple, galactic manifestation
Japan: Todai temple, a living site
Japan: Himeji, Shirasagi-jo temple, White Heron nests
Izapa pyramid field and stelae, new world, same stoneprint
Izapa cacao tree ritual stele, a third layer of structure
La Venta pyramid field, spire eyes, platform womb
Monte Alban double stoneprint works with the landscape
Coba, a triple Stoneprint with interlocking ‘galaxy’
Uxmal was contested by a witch, a dwarf, and a king
Chichen Itza has temples to planets, and a stoneprint
Teotihuacan pyramid avenue, Leo sun, Virgo moon
El Tajin pyramid field, double thunder
Palenque lid cosmic tree and double stoneprint
Palenque pyramid field, chaos among order
North and South American sites
Peru: Machu Picchu, Mayan capital in the clouds
Bolivia: Tiahuanaco island’s Sun Gate is the sun type
Chile: Atacama geoglyphs with Aquarian tailcoats
Peru: Nazca plain geoglyphs express ecological structure
Peru: Cuzco’s Coricancha constellations reveal an update
USA: California’s Painted Rock, theatre of time
USA: Lower Colorado River geoglyphs has a calendar clock
USA: Hopi kiva 5mT2, and its village, hinge on a womb
USA: Colorado’s Mystery Hill metallurgy plant or tech school
USA: Crow Canyon kivas Block 100 has two missing features
Historic Western sites
Italy: Rome, eternal city with an Age update
Italy: Rome’s gates and bridges are eloquent
Italy: Rome’s Capitol Forum, contested but constant
Italy: Rome’s Quirinal forums for spiritual order
Italy: Rome’s Vatican City, a stoneprint inside type Aries
Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
Turkey: Ephesus, former city of Amazons and Artemis
Turkey: Serapis and Ophiotaurus, half-monsters
Spain: Santiago de Compostella, of a son of thunder
Canary Islands: Las Palmas governor’s house facade
Canada: Quebec, Victorian ideals in stone
South Africa: Cape Town’s Dutch forts claimed a footprint
Here are some examples of the standard mindprint typology, sequence, and axial structure, in ayahuasca art, or artworks styled after ayahuasca visions; compared to five Lapp shamanic drums.
An Age Aquarius world skambha
Pablo Amaringo; Spinning dome (after http://www.grahamhancock.com. Mindprint labels and axial grid by Edmond Furter, updated 2019). A dome with geometric texture and various colours, indicates entry to visionary hyperspace, typical of oto-visual emissions by the visual cortex and other brain functions, if stimulated by certain practices or chemicals. All experience is indirect, via senses, nervous system, and the brain, thus internal experience seems as real as conventional ‘reality’. Some oto-visuals and sensations agree with archetypal features that artists in all places and times, subconsciously express in complex artworks.
Type Label; Character (archetypal features):
1 Builder; Water angel D (twist, bird, spring, rain, cluster).
2 Builder; Water angel C (twist, bird, spring, rain, cluster).
2c Basket; Crowd (cluster) on the cliff at left.
3 Queen; Water angel B as rain (queen?, spring, pool).
3 QueenB; Rain? Dragon?
4 King; Water angel A as cloud.
5a Priest; Ritualist B (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5b Priest; Ritualist C (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5c Basket Tail; Feather B (weave, tail). And sunburst (disc).
6 Exile; Ritualist D. And angel B on a vine trunk (tree), far out (egress).
7 Child; Water angel E as cloud (bag, unfold).
7g Gal.Centre; Water angel F at waterfall (water).
8 Healer; Hermit? under waterfall (heal, trance).
9 Healer; Waterfall head (bent forward?, heal, trance).
9c Basket Lid; Crowd on plain at vine trunk (pillar, snake) of angel B (leglink).
10 Teacher; Crowd member far right (council, ecology, school).
11 Womb; Crowd woman’s midriff (womb).
12 Heart; Man in green spinning a dome (rounded). And his chest (heart). And man in blue. And his chest (heart).
13 Heart; Levitator’s chest (heart), over dome (rounded), over a roof (‘invert’, angel). And dome (rounded, interior).
13c Basket Head; Spinning dome (oracle, hat, lid, weave). And ayahuasca pot (tree, oracle). And person D at broken pots (death, of 13).
14 Mixer; Person C, further out (egress).
15 Maker; Person B, with A (doubled).
15g Gal.Gate; Person A.
Axial centre; Wrist grip (limb joints).
04p Gal.S.Pole; Ritualist A’s jaw (limb joint).
11p Gal.Pole; Crowd woman’s hand? (limb joint).
Cel. Pole or Midsummer; Levitator’s jaw (limb joint). Cel. South Pole or Midwinter; unmarked. The solstice axle is on the vertical plane, confirming midsummer in 13-14, analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. But the top central position of types 5, analogous to Aquarius, and the general themes of types 5v13, indicate that the time-frame may not express the spring point as usual, but the Age Aquarius midsummer point, which is in Taurus. This subtle iconographic ‘slippage’ may indicate that the usual Taurean time-frame of works themed on transformation and alchemy, may in future be moved to an Aquarian time-frame.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
General themes in Pablo Amaringo’s cosmic vision of a spinning dome, many-coloured cover, or skambha, are indicated by extra features of type 5 Priest, typical of colours, priests, hyper-activity, tailcoats or sashes (here feathers), assembly (here rituals, and crowds), water (here waterfalls and pots), reptile (here serpentine forms), winged (here angels); and of the opposite type 13 Heart, typical of death (here broken pots on the left), rounded (here the top, and pots), waterwork (here waterfalls), and angel (here angels, and feathered priests). Icelandic cosmology myth used similar icons in epic poetry (De Santillana 1969).
Type 13 Heart or Leo is levitating in the lotus position, a feature more usual at its opposite, 5b Priest or Aquarius. Icelandic myths of a ‘many-coloured cover’ and salt mill (reviewed by De Santillana and Von Deschend in Hamlet’s mill), here churn in dayglow colours. The equator of eyes forms an outline of butterfly wings, incidental with the theme of transformation and flickering motion.
Symmetry in the equator, named ecliptic in this study for convenience, is uncommon in art, and usually subtracts from galactic symmetry, as it does here, as if expression were projected through either one or the other.
Type 5b Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Archetypal labels and axial grid by Edmond Furter). The drum cosmogram healing and trance tradition had updated its visions with Christian elements, but the cosmic tree is rooted between 4 King or Pisces, and 5 Priest or Aquarius, as spring now is, in our current axial era.
Here the flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era. The ritual officials are named Juksakka, Sakarakka and Madderakka. Their fish pond or ice fishing hole has an astronomy counterpart in 5 Priest or Aquarius, decan Pegasus, here displaced to the 2c Basket position (see a Roman sarcophagus in Mindprint Chapter 11), the only sequence irregularity in the work. See Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill (De Santillana and Von Deschend; Hamlet’s mill).
Type 10 Teacher or Libra here is a tree or branch, as it is in a South African Amatola work (see Mindprint examples in chapter 5), but branches are more usual at its cardinals, 14 Mixer or Cancer, and at 6 Exile or Capricornus (see Egyptian and Mexican palettes, and the Externsteine carving, in Mindprint examples in chapter 4).
This study adopts the principle that there is no limit to what artists, and thus all people, subconsciously know; and that language, art, music and conscious or semi-conscious symbolic codes are all inadequate to fully express human experience. Structuralist analysis now raises about 100 optional features to conscious understanding; of which an average of about 60 (40 to 75) are expressed in complex works.
Individual experience could only partly comprehend nature or archetype. Display of art supports the human need to express, create, celebrate and share inspiration, cast in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, are as adequate or inadequate as any myth or art could be.
Celestial polar markers on a calibrated ladder, as a gauge, tag a series of Ages, up to the hand of the central celebrant and the hand of World man (yet another 5b Priest or Aquarius stand-in) at the Age Aquarius start, perhaps an error due to the offset galactic register (level), or an inspiration of our immanent iconographic future. This is one of very few works in this study probably tagged to Age Aquarius.
Angels pulling spring into Aquarius
Type 7g Galactic Centre is expressed centre left, as two globes and a tutelary spirit pointing to a scroll. Parts of the features analogous to the cosmic galactic equators across the sphere (forming a fish shape), are marked by a string of angels in a horizontal S shape, as if figuring half of the one half, then half of the other half, in turn. Their central S-shaped flip section also mark midsummer, and thus celestial polar positions in a gauge from the Leo axis on the vertical plane (thus Age Taurus spring), through Cancer (Age Aries spring), Gemini (Age Pisces spring), to the first Taurus axis on the horizontal plane (Age Aquarius spring, slightly ‘prophetic’ for the work, but typical of ayahuasca visions).
Type 5a Priest or Aquarius is a focal group in the ayahuasca brewing hut, as a spring marker. 12 Heart or Leo is a lion (top centre), taking the place of the usual 1 Builder or Taurus bull of most mindprints and of alchemy of the last 6000 years. 1 Builder or Taurus with its gate and churn, here is a grail (mid right) dragged from 12 Heart or Leo, decan Crater (Grail). The summer sun and celestial poles are also dragged from 12 Heart or Leo, to 1 Builder or Taurus.
Type 8 Healer or Scorpius, formerly an eagle, now acquires the Aquarian angel. 4 King or Pisces is a snake with reared head, formerly of 3 Queen or Aries, adding the smaller cog change of about 30 degrees as the spring equinox is about to move from Pisces into Aquarius. 3 Queen or Aries becomes devoid of cosmic drama, here just six children in a pool (the seventh invisible), a former 2 Builder or Taurus, decan Pleiades icon. The two Amaringo snake paintings in this study express sweeping forthcoming Age Aquarius iconographic adjustments, each artwork using different figures and orientations to do so.
[Caption to follow….]
See an adjacent post on mindprint in peyote or mescaline art.
Art does not come from drugs, and art does not come from number, myth, decans, zodiacs or any media in particular.
See more examples of how the mindprint list of types, and the irregular axial ocular (eye to eye) grid, are used to raise the subconscious structure of visual expression within reach of conscious understanding; www.edmondfurter.wordpress.com
See an article about mindprint in Ice Age and Gobekli Tepe art, on www.grahamhancock.com under Author of the Month, September 2015.
Order the book Mindprint (Furter, E. 2014) from Lulu.com; 200 illustrations demonstrating the identical visual ‘grammar’ or ‘cultural DNA’, in all the known cultures and eras of the world.
My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar is innate, and readable in all our works, including building sites.]
Peyote or mescaline art is a visual styling that resembles luminous oto-visual emissions, phosphenes, or entoptics. However these artworks also contain the universal subconscious standard structure of visual expression, named mindprint (Furter 2014). Here are some examples, in addition to another post on www.edmondfurter.wordpress.com. And some artworks by Dali, and rock art of aloe ferox laxative, for comparison. Art does not come from drugs, or constellations, or trance (see a discussion below the examples).
A cave of mystery and a Basket Lid
The types are marked by the standard set of numbers, and their cosmology counterparts; and by the standard subconscious axial grid between their eyes (with the two standard exceptions to the 12/13 Leo heart, and the 11 Virgo womb).
A NOTE ON TYPE LABELS: Illustrations in this post use the initial cosmology labelling format as in the book Mindprint, after analogous constellations, and archetypal numbers, for example Ta2, Ar3, Pi4. Since 2018, archetypal structuralist analysis uses the same numbers, but with generic social functions, for example 2Builder, 3Queen, 4King, etc, to better demonstrate that nature, culture and all media, symbols, icons and meaning itself, express archetype, and not any particular expression or media of archetype. The sky, and the myths we allocate there, also express archetype. Captions in this post note generic as well as cosmic labels.
Type labels; Characters in a Frasheski mescaline-style textile work (noting archetypal features):
02 Builder or Taurus; Wolf (more typical of type 15 adjacent, just preceding 1 /2 in the cycle), twisted (twisted).
02c Basket; Mountain cave (see alchemical, Rosicrucian, and Hopi art in another post).
03 Queen or Aries; Butterfly with ‘eyes’ on long bent feelers (more usually long or bent neck). Next to a bird with a long neck as ‘determinant’.
04 King or Pisces; King (king) or healer?, rectangular (rectangle).
05 Priest or Aquarius; Lumiated maize seed head (NO EYE).
06 Exile or Capricornus; Fish (a rare feature here), near the centre (ingress), wet tail (decan Capricornus tail).
07 Child or Sagittarius; Juvenile (child) animal.
09 Healer or Scorpius; Wolf (canid), bent tail.
09c Basket Lid; Chest or altar or basket (container, secret).
10 Teacher or Libra; V-posture (arms up).
11 Womb or Virgo; Octopus abdomen (womb).
13 Heart or Leo; Wolf-man, and a rosette centre (interior, concentric).
14 Mixer or Cancer; Wolf (small canid or felid). Decan Lynx is shared with type 15.
15 Maker or Gemini; Wolf (canid).
Numbering of the labels is necessary because some artworks split each of the four ‘large’ types into two (1 /2 Builder or Taurus, v 8/9 Healer or Scorpius; 5a/5b Priest or Aquarius, v 12/13 Heart or Leo. The number 5 is repeated, since archetypal numbers follow octal base9, not decimal base9. The next magnitude level of archetype resolves 5a:20 and 5b:21. This artwork expresses only one each of the four ‘beasts’, thus the 1v8 and 5a,v12 axes are in ‘reserve’, just as some genetic material is ‘recessive’.
Compare the subconscious mindprint in this artwork with some subconscious mindprints in other art and rock art works, posted on www.edmondfurter.wordpress.com.
The range of recurrent features, their sequence, their individual average frequencies, the axial grid between eyes, and the polar structure, is the subconscious standard of cultural expression, indicating archetype itself, which could be known only through its expressions, as Plato explained in his Cave analogy (Furter 2014; Mindprint.)
See the structure in some ayahuasca art by Pablo Amaringo, with the invariable mindprints marked out, in Furter 2014; Mindprint (Lulu.com). There are three or four examples in similar ‘dayglow’ styling, among the 200 illustrations from every known culture, in the book. Some Ice Age, Gobekli Tepe, Renaissance, rock art, and modern examples are in my papers in the anthropology journal Expression, and in two articles on http://www.Grahamhancock.com (one under Author of the Month, the other on the stoneprints in the Rennes le Chateau landscape),
Dali as Angel of Time
The types are subconsciously expressed by optional features, and by the axial grid between their eyes (with two standard exceptions, to the 11 Womb or Virgo, and 12/13 Heart or Leo), in their standard sequence, here in the seasonal direction instead of the numerical or hours direction. Artists subconsciously use either direction.
Type label; Character (noting archetypal features);
01 Builder or Taurus; Hero twisted (twisted), sometimes a female ‘Perseus’ or gorgon.
03 Queen or Aries; Banner (see Agnus Dei banners, a rare feature globally), on a foot (NO EYE, or displaced to the long-necked giraffe at 10 opposite).
04 King or Pisces; Brown pigeon.
05a Priest or Aquarius; Blue (varicoloured) pigeon (angel).
05b Priest or Aquarius; Spider, colourful (varicoloured).
06 Exile or Capricornus; Needle point or ‘eye’ (NO EYE).
07 Child or Sagittarius; Fly (unfolding?).
09 Healer or Scorpius; Giant (large) bug (healer?).
10 Teacher or Libra; Bee, wings in V-posture (arms up). And giraffe with eyes on ears in V-posture (arms up).
11 Womb or Virgo; Abdomen (womb) of headless woman in bowl.
12 Heart or Leo as a monkey, and decapitated head (invert).
13 Heart or Leo; Ball or chest (heart).
14 Mixer or Cancer; Salvador Dali on a flowing clock face (time. See Tarot trump 14, Temperance).
15 Maker or Gemini; Skull (skull) or white face (face), its body holding a syringe as a mace (mace). And a monkey twisted (twisted).
Axial centre; Unmarked as usual, on the absent hand of the statue.
11p Galactic pole; Monkey hand (limb joint).
4p Galactic south pole; Statue hip (limb joint).
Midwinter; Rock ‘limb joint’.
The vertical plane confirms these polar triangles (marked in black lines), placings midsummer between axes 14-15 or Cancer-Gemini, thus spring and the time-frame in Age Aries-Pisces, typical of religious art of the last 2100 years. Aries itself is not expressed, unusually, perhaps displaced to the syringe as a kind of cross (sacrifice).
Compare the subconscious mindprint in this pseudo-Dali styling, with some more Dali paintings on www.edmondfurter.wordpress.com and with other artworks and rock art works. The range of frequent features, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
[….. All the standard types are expressed, by some of the optional features of the types; in their usual peripheral sequence; on the usual ocular axial grid; with the usual polar structure.]
When typological features in any random collection of 50 or more artworks are added up and converted to percentages, they conform to percentages as listed in the book, Mindprint, and in Stonerpint, and expanded and updated in 2019 editions of Stoneprint Journal. Thus even the frequencies of the most common options (such as 9 Healer or Scorpius bent forward, 11 Womb or Virgo womb, 15 Maker or Gemini rope, or impact weapon, 12 /13 Heart or Leo heart, or felid; and many more), are predictable in collections of artworks within the reach of manual statistics.
The three layers of visual structure are too complex for artists to express consciously. No trace of recognition of the structure of culture could be found prior to publication of the book Mindprint in 2014 (demonstrating 200 expressions in illustrations, and listing 400 in the index). Peyote art, mescaline art, rock art, ‘fine’ or academic art, and political art, of every culture, continent and region, contain the same structure, hidden in plain sight, invisible until demonstrated by a pencil, a ruler, and a list of about 100 inter-dependent features. Most complex artworks, even by novice artists, express about 60 of the currently known features.
An ark and covenant mother
Type 11 Womb or Virgo as the womb of a polar woman, her navel expressing type 11p Galactic Pole (Salvador Dali; Spain, or Ampurdan Plain. Typolgoy labels and axial grid by E Furter). Characters seem to emerge from a chest of drawers in the 9c Basket Lid (container, revelation) sector, inverting the ark theme where figures enter a box, typical of the 2c or Basket sector. The Spain woman’s rectangular chest or drawers echoes the opposite buildings on a dusty street, above sector 5c or Basket Tail, near type 5 Priest or Aquarius and 4 King or Pisces (often recttangular), analogous to decan Pegasus (which is often a horse, pond or field grid). Here Spain’s Ampurdan plain is gridded by field lines (top left).
Plains are always more alive than meet the eye. Type 10 Teacher or Libra is a see-saw rider, the concept of balance as turner of the wheel of life, doubling as nipples on the transparent breasts that overlay the landscape as the body of the beloved land.
A celestial pole on a rider’s hand tag the inspiration as Age Taurus-Aries, incidental with the conscious theme of passing events and evaporated time.
Balance of nature and culture
Eyes of the types are on the usual subconcsious axial grid, with the usual two exceptions to the 11 Womb or Virgo, and 12/13 Heart or Leo; in their standard sequence.
Type label; Characters in a Myztico work (noting archetypal features):
01 Builder or Taurus; Animal, twisted? tail, near a rainmaker?
03 Queen or Aries; Goat (more usually ovid).
04 King or Pisces; Eye.
04 King or PiscesB; Rectangular (rectangle), squatting (squat). Doubling of type 4 is unusual.
04p Gal.S.Pole; Hip (limb joint) and a small figure’s foot (limb joint).
05a Priest or Aquarius; Rectangular (of 4, or here as decan Pegaus).
05b Priest or Aquarius; Coloured (varicoloured) water beast (water, horizontal).
06 Exile or Capricornus; Bag on rope (displaced from 7), wet tail (decan Capriconus tail knot, of 5c).
07 Child or Sagittarius; Rope (rope) over bag (bag).
08 Healer or Scorpius; Leaning (bent?), large (large).
09c Basket Lid; Cross (more often a disc, here displaced to type 8).
10 Teacher or Libra; Teacher (school), arms in W-posture (arms up), staff (staff), nature-culture (balance).
11 Womb or Virgo B; Geometric figure’s abdomen (womb). Doubling of this type is unusual but not unique. See several type 11 aces in London, in Stoneprint Journal 4).
11 Womb or Virgo; Animal skin with abdomen mark (womb).
11p Galactic Pole; A head-staff (juncture or limb-joint).
12 Heart or Leo; Wolf (more usually felid), decapitated (invert), spiked.
13 Heart or Leo; Man hyperactive (of 5 opposite).
14 Mixer or Cancer; near the centre (ingress), small (small).
15 Maker or Gemini; With a rope (rope), two-headed (doubled), near his double (doubled).
Axal centre; Limb joint?
Midsummer; Footprint (juncture or ‘limb-joint’), near the vertical plane (orientation) of some of the pseudo rock art characters. These markers place ‘midsummer’ between axes 12-13 or Leo12-Leo13, thus ‘spring’ and the cultural framework in Age Taurus1-2, typical of alchemical art in all ages.
Compare this subconscious mindprint, with the subconscious mindprint in the large rock art engraving panel from which some of the semi-geometric figures are copied (above the peyote artworks, and in more detail on www.edmondfurter.wordpress.com), and with a subconscious Chinese Tien Shan range rock art engraving (adjacent to the American engraving on that web page, and in the book). The range of frequent attributes, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
All art is art
Mescaline styling is recognisable in some rock art loosely labelled ‘trance art’. The style is named ‘pseudo’ rock art if the artist copies a recognisable rock art styling. There should be no distinction between ‘taught /untaught’, or trance /conceptual, or ‘own /borrowed’ culture, styling or media, since all art is art. It is impossible to ‘fake’ structural expression, and thus it is a kind of hallmark of inspiration.
Merry Christmas and a happy Age Aquarius
In 2014 I found Bannon’s retro-styled artwork and made a Christmas card of it. The usual structuralist analysis demonstrates the standard but subconscious mindprint typology sequence, and the usual lines to reveal the ocular (eye to eye) axial grid, and ‘polar’ triangles. Whether the work is a copy of a rock art panel, or a modern work, is immaterial to archetypal expression. This artwork was one of many tested after the book Mindprint, that confirmed that the structure applies to all artworks, of all cultures, and predicts the core content of newly found ancient works, as well as future artworks.
I emailed the analysis to some archaeologists, anthropologist, artists, and drumming circle members, and received mixed responses. Most people are still not consciously aware of the role of archetypes in nature, perception, or behaviour. Popular culture and sciences, even anthropology and psychology, have a blind spot, or layers of blind blots, for archetypes.
Type 15 Maker or Gemini as two Rope People (rope), resemble a trio of type 15 character in a South African San (Bushman) rock art panel, nicknamed ‘Vapour trails’, where their ‘sky ropes’ (a recognised archaeological term) are attached to the back of their spines (see Tarot trump 15 versions with two souls roped to a worldly creator or daemon, usually unnamed, or labelled ‘Devil’.)
Tribeways drumming circle uses mescaline art in its advertising, which I added to the growing number of analyses, in further proof that all cultures and styles speak a collective visual language.
Clues; Type 3 Queen or Aries has a long or bent neck in 42% of artworks;
Type 15 Maker or Gemini has or is a rope (33%) or bag (21%), or both. Its ‘magnitude’ is type 0 (zero), corresponding to Tarot trump zero, Fool with a bag;
Type 13 Heart or Leo is on a heart (85%);
Type 11 Womb or Virgo is on a womb (87%);
Type 7 Child or Sagittarius is a bag (25%), sometimes with a rope, and/or juvenile;
Type 4 King or Pisces is sometimes a sun. Its higher magnitude is 4:19, as in the number of Tarot trump 19, Sun.
Structuralist anthropology and iconography research reported in Mindprint, and Stoneprint Journal, incidentally revealed details of the cosmological division of ecliptic (constellation) divisions, that allowed a calculation of the date of the Age Pisces to Age Aquarius transition, by the exact positions of the four seasonal points and the exact borders of archetypal constellations. That date is 2016, when the spring-autumn points were on two Pegasus stars and the Cetus spout; and solstice points were on the galactic gates (Furter 2014; Mindprint. Lulu.com). However artists are not consciously aware that some of the secondary or incidental detail in the holographic structure that anchors their visual expression, also expresses a cosmic and precessional temporal framework. This clock of ages could not be used to date artworks, since most artists express inspiration framed by the previous age, or one of the previous ages, of varying length, during which precession moved at slower rates (see a post on http://www.stoneprintjournal.blog for a discussion of the problems inherent in assumptions of precessional metrics, obliquity, and the Newcombe curve).
Marsha Walker; Where spirit meets goddess. Cosmology labels and axial grid by E Furter 2015.
Type label; Character (archetypal features):
01 Builder or Taurus; Swallow or swift-person (bird, swift-person).
02 Builder or Taurus; ? and ? (cluster. Their opposites at 9 are also indistinct).
03 Queen or Aries; Long-necked animal icon (long neck), topping a mask.
04 King or Pisces; Large mask (more typical of 15).
04p Gal.S.Pole; Mask jaw (limb joint, a frequent polar marker).
05a Priest or Aquarius; Chest (heart, of 12 opposite) of a priest (priest).
05b Priest or Aquarius; Chest (heart) of a geometric character.
06 Exile or Capricornus; Coyote? (more often caprid), near the centre (ingress).
07 Child or Sagittarius; Snake skin (bag), NO EYE, but lack of an eye is not penalised at type 7, since it is often a bag.
7g Galactic Centre; Palm-tree top (juncture).
08 Healer or Scorpius; Hut.
09 Healer or Scorpius; ? and ? (their opposites at 2 are also indistinct).
10 Teacher or Libra; Central character’s chest (heart, unusual at type 10). Some elements hint at overwork or re-work of the design, as found in the artworks of William Blake, Poussin, and a few other esoteric artists.
11 Womb or Virgo; Salmon abdomen (womb), swimming upstream to spawn.
11p Galactic Pole; Central woman’s jaw (limb joint, a frequent polar marker).
12 Heart or Leo; American Indian warrior’s chest (heart).
12 Heart or Leo; American Indian warrior (war).
14 Mixer or Cancer; American Indian woman.
15 Maker or Gemini; American Indian person.
15g Gate; Five dots (juncture).
Test your own artwork, or your own art analysis
These ‘peyote’ artworks are from a quick internet search. I downloaded the first six works containing eleven or more characters. They all express the five layers of mindprint structure, with the usual apparent variation and pleasant surprises, while remaining true to archetypal ‘grammar’ or ‘DNA’.
Artworks with less than eleven characters (people, animals, geometric figures, etc), usually express only some of the sixteen types, and are difficult to prove as typological, since some lack axial opposites, and minimal or ‘sparse’ artworks lack the full and complex context of multiple points of evidence, and axial geometry, to prove subconscious expression of the structure. However mindprint art could be used to reveal archetypal elements in sparse works by any artist, in any culture, since the compulsive inspiration for visual expression, is from the collective subconscious.
Mindprint thus enables conscious appreciation of our surprisingly detailed subconscious access to archetype, which informs nature, as well as perception, and all cultural expressions.
Art does not ‘come from’ drugs
Art is not inspired by any drug, be it peyote cactus, mescaline, ayahuasca, DMT, ‘flight’ mushrooms, cannabis or another plant or compound. These may all semi-artificially promt or sustain natural visions, which may take special skill and practice to remember and to incorporate in an artwork. Art does not come from trance either; most artists are not aware of undergoing trance states. Healers usually art, but most are not artists. Most artists are not healers. Most artists work from imagination, or dreams, or by transforming exposure to other art, scenes, myth, music, ritual, or events.
Visual technique is a gift, as some of the skills needed in ritual, myth-making, healing and other cultural expressions are a gift. Artistic techniques may improve with meditation, practice, and teaching, however conscious efforts improve mainly styling and texture, while the inherent structure and core content of art, and all culture, appears in the complex artwork of most novices and masters alike.
Art does not ‘illustrate astronomy’
Correspondence theorists and archaeo astronomers should note that cultural structure arises from archetype, just as the periodic table of chemistry, or the double helix of bio-chemistry, arises from the inherent structure in nature. Art does not illustrate astrology. Seasons, myths, rituals, icons, and all cultural ‘goods’, express archetypal structure, as a kind of compulsion. None of these expressions precede or ‘teach’ the others.
Compare the subconscious mindprint any style or media of visual artworks, with some subconscious mindprints in other art and rock art, at www.edmondfurter.wordpress.com
The book also reveals that the same structure applies to myth and literature, and demonstrates mindprint in a verse from the Mishnah. However it notes the difficulty of extracting the subtext from a written or recited text, that tends to fluctuate between characters, motivations, typology, and episodes. Visual art unerringly reveals its ‘subtext’ in visible attributes of characters, and their complex spatial relationships.
Built sites express the same structure
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprintjournal.blog or at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, in several media.
Below are some examples of archetypal structure or mindprint ‘grammar’ in mushroom or psilocybin art, and in fairy art. And sugar and chocolate art. Psychedelic art is entertaining.
The subject and styling of mushrooms art, fairies art, and sugar candy art, are often commercialised, but offers yet another test of the claims I make in the book Mindprint (Furter, 2014. Lulu.com). Mayan chocolate art offers an apparently more serious, but equally valid test. Each claim has important implications for several sciences, and for popular culture;
 the standard set of typology features (certain postures; and items such as staffs, bags, ropes) occur at set average frequencies in complex artworks;
 and they appear in a standard sequence (analogous to seasons, and the myth cycle in hour decans and the zodiac);
 and the eyes of the typological characters are always opposite their complementary types on an axial grid;
 and five polar features, usually marked by limb joints, express a temporal framework analogous to precessional Ages;
 Artists are unaware of the complex structure of visual expression, which is inspired by the collective subconscious;
 Artworks containing more than eleven characters, all express the mindprint structure, irrespective of place, culture, Age, era, or mind-altering substances (see mindprint in peyote or mescaline art, and mindprint in ayahuasca art, on adjacent pages; see examples of Ice Age, Gobekli Tepe, ancient, classical, political, decorative, modern, ‘academic’, famous, amateur, and rock art, on www.edmondfurter.wordpress.com and 200 diverse examples in the book from Lulu.com);
 The mindprint structure depends on inspired eye-hand-mind co-ordination;
 The structure does not appear in photographs, or in art made by mechanical means.
If these claims are true, then the standard set of labels, and axial lines and types, should also appear in complex commercial art, and sketchbooks, and not in photographs such as the Cottingly fairies photos (probably of paper sketch cut-outs), or fancy dress photos.
Every mushroom person has a story
Type labels; Characters in the Shannon artwork (noting archetypal features):
02 Builder or Taurus; Mushroom person twisted (twisted, not accounted here since several stems seem to be twisted).
02c Basket; An ‘extra’ mushroom-person.
03 Queen or Aries; Long bent mushroom-person (neck long or bent, not accounted here since these features abound).
04 King or Pisces; Mushroom person.
05a Priest or Aquarius; Other eye of the same mushroom person (varicoloured, large).
05b Priest or Aquarius; Blue-topped (varicoloured), large head (large) mushroom person. And a small flying (hyperactive) angel (angel).
06 Exile or Capricornus; Far from the centre (egress).
07 Child or Sagittarius; Mushroom person without ‘head’ membrane (juvenile?).
08 Healer or Scorpius; Bent forward, same character as 9 (bent forward, not counted here).
09 Healer or Scorpius; Bent forward (bent, not accounted here).
09c Basket Lid; On overhanging pod skin (container).
10 Teacher or Libra; Mushroom person frontal.
11 Womb or Virgo; Mushroom person stem (womb. Circle added).
11p Galactic Pole; Stem-pod joint (limb joint).
12 Heart or Leo; Mushroom person chest (heart, a circle added here).
13 Heart or Leo; Mushroom person.
14 Mixer or Cancer; Mushroom near the centre (ingress).
15 Maker or Gemini; Mushroom pod with a leaf (rope, not accounted here), without an eye (bag).
The ecliptic poles are both at the axial hub, on a stem-pod junction (limb joint). The celestial pole is on 14’s jaw (limb joint). The celestial poles are on the vertical plane (orientation), here near the Cancer-Capricornus axis, tagging the time-frame of Age Aries, our preceding Age, as most artworks have been during the last 2100 years of Age Pisces. Age Aquarius started in 2016 (as demonstrated in Mindprint, published in 2014). Some artworks have already expressed the transitional time-frame of Age Pisces-Aquarius.
There are many kinds of people recognised in art and rock art studies, such as swift people (swift-humans), karos or coat or bag people, therianthropes (animal people, such as lion people, antelope people), veganthropes (tree people, flower people, mushroom people), geoanthropes (geometric shape figures; P-people, X-people), and so on. A list of ‘kinds’ (not to be confused with types), is given in the book Mindprint.
Mushroom people are rare, but known in rock art, as in an engraving in Egypt at El Hosh, and at Tassili in the Sahara, and perhaps on a female initiation rock pavement at Driekops Eiland in South Africa. Mindprint analysis could not make any value judgement of artistic technique or styling, only indicate the relative complexity of the inherent structure and typology. In these terms, most famous and many novice artworks have more or less the same complexity. Artworks typically contain 60 of 100 predicted features, each in apparently different figures and designs, until the core content is isolated and compared to reveal the inherent structure.
All together now
Type labels; Characters in a Squareup artwork (noting archetypal features):
01 Builder or Taurus; Tree gnome twisted (twisted).
02 Builder or Taurus; Tree gnome (decan Perseus, sometimes at a tree of life. See Tarot trump 17, Star, at a tree and a phoenix).
02c Basket; A tree fairy.
03 Queen or Aries; A fairy, facing backward (neck long or bent).
04 King or Pisces; Caterpillar squatting (squat).
04p Galactic south pole; Two water bubbles (juncture, spout).
05a Priest or Aquarius; Gnome on a halo (varicoloured, hyperactive).
05b Priest or Aquarius; Halo person (varicoloured, large).
06 Exile or Capricornus; A planet, near the centre (ingress). And a halo person (tree?).
07 Child or Sagittarius; Mushroom person (bag) with a bag (bag) on a sling (rope).
08 Healer or Scorpius; ?
09 Healer or Scorpius; Wise gnome (healer?).
09c Basket Lid; Gnome with a large beard.
10 Teacher or Libra; Wizard gnome.
11 Womb or Virgo; Tortoise womb (womb).
11p Galactic pole; Wagon hinge (limb joint).
12 Heart or Leo; Gnome sitting flat.
13 Heart or Leo; Gnome heart (heart).
14 Mixer or Cancer; Gnome with a jug (see Tarot trump 14, Temperance).
15 Maker or Gemini; Gnome with a tool (smiter, sceptre), near twins (doubled). And another gnome (doubled), smiting (smiter).
The axial centre is on a fairy foot? (limb joint). The celestial pole is on type 15’s hand (limb joint). The celestial south pole is on a rabbit hip (limb joint), on the horizontal plane (orientation), tagging for spring and the the temporal framework in Age Aries-Pisces, before the work as usual worldwide.
Fairies, gnomes and plant ‘people’ are like the jinni (singular; jinn) in Arabic and Asian folklore; indwelling in nature, and subject to angels and gods (see Geoffrey Hodson; Land of the Gods. Theosophical Society press). They seem less important in myth than gods and heroes, but some artists take them seriously.
Art of our time
Type labels ; Characters in an Arcann mushroom-styled artwork (noting archetypal features):
02 Builder or Taurus; Flower (cluster), twisting (twisted).
02c Basket; Bonsai plant halo.
03 Queen or Aries; Antelope with large ears.
04 King or Pisces; Goldfish (fish), in a bowl (decan Pegaus pond).
04p Gal.S.Pole; Shoulder (limb joint).
05b Priest or Aquarius; Student (science) in blue, red, white stripes (varicoloured, large).
06 Exile or Capricornus; Goldfish (fish tail) near the pole (ingress).
07 Child or Sagittarius; Bag or rag or flag (bag), NO EYE, but allowed at type 7, since it is often a bag or unfolding organism. Lack of an eye is compensated for by the extra bird in the top corner, whose eye does not have an axial opposite.
09 Healer or Scorpius; Rat reaching forward (bent) with a strong arm (strong).
10 Teacher or Libra; Concentric circles (wheel).
11 Galactic pole; Branch fork (juncture).
11 Womb or Virgo; Robot’s womb (womb).
13 Heart or Leo; Antelope heart (heart).
14 Mixer or Cancer; Rocket, far from the centre (egress).
15 Maker or Gemini; Ape-man on a branch (rope).
15g Gate; Flowing branch (juncture).
The axial centre is unmarked a usual. The celestial pole is on an antelope hip (limb joint), vertical to the axial centre (orientation), indicating spring and the temporal framework of Age Pisces-Aquarius, the current era. Age Aquarius started in 2016, but some artworks, particularly in experimental styling, already expressed the transitional era some years before.
This styling is associated with ayahuasca and trance vision in general. Artistic inspiration is a natural gift, improved by practice, and is not gained or enhanced by any drugs.
To sleep, perchance to dream at a healing pillar
A Greek T-shaped healing pillar in a votive relief to healing god Asklepios, shows a doctor treating a patient, then the doctor sleeps below a T-shaped pillar to receive a healing dream, and the patient is healed (BC 350. Athens National Museum).
The Greek healing pillar is a conventional signboard shape, which incidentally resembles Gobekli Tepe T-shaped pillars (see an article on Grahamhancock.com, under Author of the Month, September 2015), and all horizontal-vertical junctions, such as T-O, or (T) maps. Asklepios expresses type 8/9 Healer or Scorpius. In art he is often shown bent forward, in trance, leaning on a stick or two sticks, sometimes at or with a pillar (see Tarot trump 9, Hermit, leaning on two staffs; and trump 8, Strength, sometimes with a broken pillar. The same emblematic motif appears in many San Bushman paintings, art and rock art worldwide). Here the bent attribute is in the reclining posture; the staff is visible below his clothing; and the trance attribute is in the implied healing. Two all-seeing eyes frame the top of the engraving. Healers are herbalists. Most healers go into trance naturally, or from certain rituals. Drugs do not induce ‘clean’ or healing trance states. As San Bushmen say, ‘cannabis does not lead to God’. All cultures use pillars, stelae, engravings, inscriptions, art, talismans and sigils in aid of personal and social healing in the general sense.
Mayan chocolate ritual art analysis
Candy Land game board for Hasbro (Caram Law. Cosmo labels and ocular axes added by Edmond Furter).
Up the walls and over the top
Type labels; Characters in a Caram Law sugar-styled artwork (noting archetypal features):
01 Builder or Taurus; Lime-person.
02 Builder or Taurus; Sugar fairy in twisted pose (twisted).
02c Basket; Sugar mountain cave.
03 Queen or Aries; Ball head below a tall cone (neck long or bent). White faces are more typical at 15.
04 King or Pisces; Pudding person dancing.
04p Gal.S.Pole; Pirate skull jaw (limb joint).
05a Priest or Aquarius; Two pudding people on the same axis.
05b Priest or Aquarius; Gingerbread person (varicoloured).
06 Exile or Capricornus; Pirate frog near the centre (ingress).
07 Child or Sagittarius; Candy ball person (bag).
08 Healer or Scorpius; Candy man at a pillar (pillar).
09 Healer or Scorpius; Candy platform on a pillar (large, pillar).
10 Teacher or Libra; Pirate, posture unclear (arms up? staff?).
11 Womb or Virgo; Faceless lolly stick, axis on its body (womb).
12 Heart or Leo; Sugar girl’s chest (heart, more usually male).
13 Heart or Leo; Lollypop.
14 Mixer or Cancer; Lime-person, nearer the centre (ingress).
15 Maker or Gemini; Cone-person with a cane (sceptre).
The ecliptic poles are at the axial hub on a ship mast crow’s nest (juncture). The celestial pole is on an X-marker (juncture). The celestial south pole is on the ship’s wheel (juncture). The polar triangles and the vertical plane (orientation) indicate that the artwork is expressed in the temporal framework of Age Aries-Pisces, as many works of the Renaissance were.
Mushroom child art analylsis;
jingles are big business
Type labels, Characters in a Caram Law artwork (noting archetypal features):
01 Builder or Taurus; Large star-person.
02 Builder or Taurus; Star-person.
03 Queen or Aries; Mushroom smurf eye.
04 King or Pisces; Mushroom smurf eye.
04p Galactic south pole; Foot (limb joint).
05a Priest or Aquarius; Ball person face, on a large blue mushroom (varicoloured, large).
05b Priest or Aquarius; Large varicoloured ball person (varicoloured, large).
06 Exile or Capricornus; Mushroom puppy, far from the centre (egress).
07 Child or Sagittarius; Mushroom pod person (bag) with a rope (rope).
08 Healer or Scorpius; Large (large) child.
09 Healer or Scorpius; Large (large) child, her other eye, legs drawn up (bent forward?, large) on a mushroom (pillar).
10 Teacher or Libra; Mushroom baby.
11 Womb or Virgo; Finger stem person’s womb (womb).
14 Mixer Cancer; Bauble-person, as tree decoration (tree).
15 Maker Gemini; Star-person on a rainbow (rope?).
The ecliptic poles are both at the axial hub on a bow knot (juncture). The celestial poles are unmarked, and may be are on the vertical plain, at the Taurus-Scorpius axes, indicating the forthcoming Taurus midsummer of Age Aquarius, that started in 2016.
Fairies art analysis;
A rough draft of old favourites
Type labels; Characters in a Mamorumi fairies artwork (noting archetypal features):
01 Builder or Taurus; Gnome puppy, looking backward (twisted).
02 Builder or Taurus; Central boy’s other eye.
02c Basket; Hair topknot? (weave).
03 Queen or Aries; Gnome. And the central boy.
04 King or Pisces; Elder gnome, a father.
05a Priest or Aquarius; Boy with dark hair, his other eye.
05b Priest or Aquarius; Boy with dark hair. And a gnome.
06 Exile or Capricornus; Elder gnome, near the pole (ingress).
07 Child or Sagittarius; Fairy face (unfolding).
08 Healer Scorpius; Bulky fairy (large or strong).
09 Healer or Scorpius; ‘Eye’ on a fairy wing (large).
09c Basket Lid; Fairy outline, wings up (arms up).
10 Teacher or Libra; Fairy girl.
11 Womb or Virgo; Fairy girl’s womb (womb).
11p Galactic pole; Fairy girl’s elbow, or knee, or elbow (limb joint).
12 Heart or Leo; Fairy girl’s lower chest (repetition of this feature on one chest is unusual).
13 Heart or Leo; Fairy girl’s upper chest (heart. More usually male).
13c Basket Head; Fairy girl with wings folded (weave).
14 Mixer or Cancer; Smaller fairy girl in flight.
15 Maker or Gemini; Gnome puppy’s other eye, baggy cheeks (bag).
The axial centre is unmarked, as usual. The celestial poles may be on the horizontal plane (orientation), here placing midsummer between Leo and Cancer, implying spring and the time-frame of the work as Age Taurus-Aries. Many alchemical works are expressed in the Age Taurus framework, and many spiritual works are expressed in the Age Aries framework. Most artworks express the prior Age, at the perceived time of the formation of the culture or tradition.
Photo typology analysis: But it is not art
Characters in photographs are usually selected and arranged without archetypal inspiration. Despite a wide variety of recognisable legendary characters, their peripheral sequence does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only three potential axes meet in two or three different places on the photograph, consistent with the rules of chance for a cluster of similarly oriented bodies containing asymmetrical lucida (bright points). In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes at fixed average frequencies, and leaving only one or very few ‘extra’ figures outside the grid.
Mindprint could also be used to reveal errors in copies of rock art or artworks, however most artists who copy other works from memory, are likely to express a new mindprint (see Andrew’s copy of an Australian rock art work from memory, at http://www.edmondfurter.wordpress.com).
The famous Cottingley fairies photographs were probably made of sketchbook paper cutouts with textile wings. There are fewer than the required eleven characters here, but even if more were added, their attributes would probably be too similar, and their positioning too random, to express archetypal structure.
Characters in photographs are usually selected and arranged without archetypal inspiration. The peripheral sequence usually does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only four potential axes meet in one point on the photograph. In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes.
Only the mind-eye-hand co-ordination of an artist could express archetypal structure in art, and then only if the conscious mind is occupied by the usual artistic concerns, leaving the subconscious free to impose the structure of perception and nature on the rock or canvas.
How to test structural art analysis
To do a structuralist art analysis test, or building site structuralist analysis test, use the standard set of labels to cut and paste next to typological characters in any complex artwork (containing eleven or more figures). The labels are given with opposite pairs above and below one another;
If you identify only twelve types (ten eyes, one heart, and one womb), then use only one the labels for types 2v9 (not 1v8), and 5b,v13 (not 5a,v12). See a more detailed guide to structuralist art analysis in the book Mindprint. Artworks containing only fourteen types, probably double one of these opposite pairs. Sixteen axes are more frequent, and some complex works double other types as well; or add separate characters to express polar features by their limb joints. In works containing more than about 26 characters, test for a possible double adjacent imprint, perhaps with a few characters shared by both cycles.
Use the table of features (in two other posts on this website, or more completely in the book Mindprint, or the book Stoneprint, or in recent editions of Stoneprint Journal) as a format for writing a caption to your structuralist analysis.
Ages are named after the spring position, which is always 90 degrees before midsummer or the celestial pole position. Both move backwards, or precess, against the constellation markers. Note that seasons, myths, rituals, icons, emblems, and artworks all express archetypal structure, and do not derive from one another. Even artworks that apparently illustrate a myth, a ritual, a season, a set of trumps, a procession, or a zodiac, also independently express archetypal structure.
See Edmond Furter; Mindprint (2014, Lulu.com) for a full discussion of the theoretical context of the philosophy and psychology of archetype and perception; and a critique and update of structural anthropology and cognitive archaeology; as well as a critique of the reasons why art history and esoterica have failed to identify mindprint, despite extensive research into gestalt perception and conceptualisation, and into ‘tacking’ between sets or categories of icons and meanings. The book also has tables detailing many more archetypal attributes (beyond the more obvious and high frequency attributes listed in the caption format), and 200 illustrations demonstrating how mindprint was discovered.
See an article on the archaeological implications of mindprint for rock art, in the global anthropology journal, Expressions, volume 9, p21-25, and in some other editions.
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works.
Below are some Gobekli Tepe pillar engravings, and related artworks, demonstrating archetypal structuralist art analysis (after Edmond Furter; Mindprint, 2014, Lulu.com, 200 illustrations, about $28). The site in Turkey is dated about BC 8000 based on mud plaster, but some researchers date it BC 6000, since local soil contain pre-civilisation debris.
The animal top centre on the famous pillar D43 is a fox burrowing to the right. It expresses type 15 Maker or Gemini, which is canid in 12% of artworks worldwide. This update corrects its earlier interpretation based on lower resolution photos, as an animal rampant to the left. Two dents on its head, on the right, are not misplaced eyes, but probably ancient damage. See a new paper on the archaeo astronomy of Gobekli art, on http://www.stoneprint.wordpress.com and with larger images on Academia.edu.
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities, including Gobekli Tepe houses plans, and the Gobekli Tepe village plan, at http://www.stoneprint.wordpress.com
The book Stoneprint, the human code in art, buildings and cities (2016, 400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, including building site plans. It includes a chapter on Gobekli Tepe.
Pillar D43 is an Ice Age thaw styling portrait
Gobekli Tepe pillar D43 expresses the usual set of visual archetypes; in the standard sequence; with their eyes on the standard ocular (eye-to-eye) axial grid; with the two usual exceptions to a heart and a womb; and with the standard tri-polar structure, with the orientation of the cultural Age embedded. The implied time-frame is in the Younger Dryas, or Ice Age thaw, about 5000 years before Sumerian culture, but the artwork is later, as usual.
Type label; Characters on pillar D43 (noting archetypal features):
1 Builder or Taurus; Hut or keep (building), of reed bundles, for stock animals (See Inanna huts below. 1 /2 is/are bovid in 19% of artworks). Some stone figurines found nearby are of animals with loophole bodies for tying down a rope, like weights for leather hut covers in China, and trade weights in Babylonia.
2 Builder or Taurus; The same hut or keep as in 1, implying animals inside.
2c Basket; Spider hut totem (weave). In some emblems, this type is a crayfish (decan Cetus tail), since shape and posture is just as expressive as species.
3 Queen or Aries; Flamingo or bird (long-necked) hut totem.
4 King or Pisces; Water-bird or ibis (bird).
5a Priest or Aquarius; Water-bird’s heart (of 12 opposite), or the bird body forms a snake ‘tailcoat’ head (see John Baptist icons).
5b Priest or Aquarius; Bird, or vulture chick, with a ‘tailcoat’ body, nearest the pole (ingress is more usual at 6).
6 Exile or Capricornus; Triangular body, or ‘tailcoat’ head (more usual at 5).
7 Child or Sagittarius; Skin bag (bag), headless (decapitated), perhaps a skin stuffed with birds as a meat fermentation cache, as arctic people still make (BBC DVD: Human planet). Rock artists often expresses type 7 as a transforming ‘buck bag’ or cocoon. 7g Galactic Centre; Large bird’s neck (limb joint).
8 Healer or Scorpius; Large (large) bird.
9 Healer or Scorpius; Large (large) scorpion (rare, but some zodiacs express this option, not implying that the Gobekli Tepe pillar art is a zodiac; see my detailed paper cited above).
9c Basket Lid; Fox (caprid); decan Lupus, Wolf.
10 Teacher or Libra; Snake (snake); decan Serpens.
11 Womb or Virgo; abdomen (womb), of the vulture, a maternal animal. Vultures were, and still are in some areas, used to clear corpses, thus the abdomen could imply ancestors and rebirth.
12 Heart or Leo; Heart (heart) or pendant, opposite a heart-shaped body on the same axis.
13 Heart or Leo; Vulture (some characters express two or three types in minimalist artworks, usually by subconsciously placing the eye, heart and womb on the axial grid).
14 Mixer or Cancer; Small bird hut totem, far out (egress).
15 Gemini; Fox (canid), burrowing to the right, perhaps expressing the end of Age Gemini.
Axial centre; Sphere’s edge (juncture).
4p Galactic.S.Pole; Bird knee (limb joint). And front edge upper loincloth (juncture); decan Pegasus.
11p Galactic Pole; Vulture elbow (limb joint).
Midsummer; Sphere (juncture), on the vertical plane, on the axis analogous to Leo1, implying spring and the time-frame in Age Taurus1, as in some other late Ice Age artworks and buildings (some are demonstrated in the book Stoneprint). These features may support archaeological dating, however the rate of precession and obliquity at that time is uncertain (contrary to astronomy assumptions. See the Dodwell curve in the archaeo-astronomy paper cited above); and works are usually framed in the age prior, when the artist’s culture is assumed to have formed.
Cosmology and myths are aids to interpretation, but art is not astronomy, nor just illustration of myth or ritual or calendars. However constellations offer a good myth map, with some inbuilt optionality. For example, Sagittarius could be a chariot, centaur, bag, newborn antelope, or teapot (the latter is not recurrent and thus not archetypal). The pillar edge or ‘face’, below the loincloth (decan Pegasus?), has another spider or frog carving (analogous to type 4p Galactic South Pole at the Cetus spout), perhaps expressing the triple polar alignment on the Pisces-Virgo axis in Age Gemini-Taurus.
Ancient domestic technology
A row of Inanna temple huts in a Babylonian cylinder seal imprint, resemble the Gobekli hut shapes; and resemble the suspended totem animals (here alongside Inanna rosette poles); and the woven reed textures in the landscape; and the two central pillars in the houses.
Pairs of pillars, as of Samson, or Hercules, express daily and yearly poles, as in cosmology. Gobekli huts may have had beams of reed bundles, as legendary Noah’s ark had; or adobe shells or half-shells. Biblical ‘gopher’ is from KPR, perhaps bitumen tar, not ‘wood’. Revival of species was probably a major Younger Dryas theme, retained in legends and myths such as of Noah’s ark.
Gobekli Tepe pillar H56 expresses axial Age Gemini-Taurus spring
The relief carving on Gobekli Tepe pillar H56 is one of the only two complex artworks discovered at the site (and of the Younger Dryas era worldwide) up to 2018. The first structuralist analysis of it (in Mindprint, 2014) was made on a low resolution night photograph available at the time. A tracing made by the archaeology team on site enabled better identification of the species, and the position of their eyes, and a more definitive structuralist analysis. Polar markers and the resulting Age Gemini calibration, is unaffected by the update.
The number of known isolated optional features doubled in 2017, after papers on various themes in rock art and art history published in the anthropology journal Expression. Average rates of expression of more optional features became known from statistics of a larger sample of artworks and rock art works worldwide (the April 2017 review was slightly adjusted after a review of 50 miniature artworks on cylinder seals, stamps and seal rings in Stoneprint Journal in 2018). This review of subconscious structuralist elements in pillar H56 uses the 2017 caption format standard (more detailed than the informal format in earlier posts).
The general theme in House H may express type 15g Gate, the galactic ‘gate’ on Gobekli Hill (see notes on the general theme on this artwork below). Archetypes in the Gobekli Tepe pillar H56 relief engraving of about BC 8000 or BC 6000 are listed below.
Type label; Character (noting archetypal features):
1 Builder or Taurus; Hippopotamus B (bovid). And large central bird (bird).
2 Builder or Taurus; Bird C (bird), preening (twisted, in a group of four (cluster).
2c Basket; Bird B (c-types are usually off the axial grid, but in their sectors).
3 Queen or Aries; Bird A, sitting (more typical of 4). And hippopotamus A (‘dragon’?). And the large central snake, probably an Arabian Horned viper (dragon). The eyes of the species sit near the front of the head.
4 King or Pisces; Bird E (bird), sitting (squatting). And bird F (bird, twins), sitting (squatting).
4 King or PiscesB; Bird G (bird), in a row of four (twins), with two chicks (twins).
5a Priest or Aquarius; Small bird. On the pillar front edge here is a bovid skull (tailcoat head?). And bird G’s chest (heart, of 12 opposite).
5c Basket Tail; Snakes or eels (weave).
6 Exile or Capricornus; Snake (reptile), perhaps an Arabian viper (horned), or eel (amphibian, snake-dragon), far from the centre (egress).
7 Child or Sagittarius; Small bird (juvenile) or hatchling (unfolding). And small antelope (juvenile), perhaps an ibex (horned, of 6).
7g Galactic Centre: Foreground (path or water), or bird beak (limb joint).
8 Healer or Scorpius; Bird with wings forward (bent forward).
9 Healer or Scorpius; Bird bent (bent forward).
10 Teacher or Libra; Bird.
11 Womb or Virgo; Bird, axis to her midriff (womb).
11 Womb or VirgoB; Hippopotamus G midriff (womb, water).
14 Mixer or Cancer; Hippopotamus C with open jaw and canine tooth upward, or a rhinoceros or elephant; decan Ursa Minor. And a large snake; decan Hydra.
15 Maker or Gemini; Vulture spread (rampant), or “crane eating a snake” (Schmidt 2012). Rear-facing (subconsciously expressing Age Gemini end?). Nearer the centre, but ingress is more typical of type 14.
Extra characters; Five birds and ten snakes. See notes on the general theme below.
Axial centre; Unmarked as usual.
4p Galactic South Pole; bird neck (an unusual limb ‘joint’) or snake jaw (limb joint).
11p Galactic Pole: Hippopotamus G’s jaw (limb joint); decan Ursa retro as a jaw. And hippopotamus F.
Midwinter; Crane beak (limb-joint). The horizontal plane (orientation) confirms ‘summer’ in Virgo, thus implying ‘spring’ and the cultural time-frame in Age Gemini, confirmed by the top central type; probably expressing the era before the work as usual. In later Age Taurus works, the summer position is sometimes marked by a spread bird (which in myth, calendars and astronomy appears as the decan, or supporting ‘determinant’ character of Ursa or Ursa Minor; as an eagle in Mesopotamian art; or as the pregnant hippopotamus Taweret in Egyptian art (see the Seti I astronomical ceiling in Mindprint, and in one of my papers in Expression; or a bear in classical European myth, or a horse in some Renaissance emblems). In Age Gemini, Ursa Minor was probably a spring marker, which could be tested if about 50 Younger Dryas artworks may become available.
General subconscious themes in this pillar engraving include type 7g Galactic Centre (water, gate, juncture, path, and the point from where visual inspiration may unfold); and its opposite 15g Galactic Gate (churn, gate, river, juncture, path; where two equators cross, and where the celestial equator also crossed in Age Gemini-Taurus, the axial age of re-creation after the very long Ice Age). The two g-points are on the vertical axis of the work. The conscious theme may include spring migration, confirmed by the top central position of type 15 Maker or Gemini.
Another general subconscious theme in Gobekli Tepe art and the village, is the four half-types, 2c Basket (container, snakes, secret), 5c Basket Tail, 9c Basket Lid (revelation, disc, snake), and 13c Basket Head (prediction, time precession). The site may have been an oracle (compare similar themes at much later Greek oracles, and their scenes in art, in Mindprint; and in Delphi’s Apollo precinct (in press), and in a Zimbabwe oracle rock art panel).
Seven hippopotami and many birds set yet another general theme, of circumpolar characters (see the note on decan Usa as a bird, or as the pregnant hippopotamus Taweret, above, and in another post).
Correspondences revealed by structuralist analyses are too many, too holographic (inter-dependent), and too embedded in several media, to support the paradigm of cultural ‘invention’ development, adoption and diffusion’. Only archetypal inspiration could sustain the five levels of structure revealed here, and demonstrated in the art, rock art, building sites, calendars, myth and cosmology of all cultures and all eras. The number of structuralist analysis examples already exceed 600, of which about 300 have been published. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.
The above analysis will be included in Stoneprint edition Two, with a score for testing the validity of about 100 recurrent features in visual media.
The polar ‘clock’ usually indicates the age prior to the work, thus the age of the formation of the artist’s culture. Calibrators in art are never detailed enough for dating.
Popular hut technology
Interpretation of some Gobekli Tepe pillar art features, is informed by a Kurdish stele with relief engravings (after HPG. Xakk.org. Seasonal or cosmology labels with archetypal numbers, and axial grid by E Furter). Compare the three levels of rooms, to three-layered Inana temple huts. Birds above and below recall bird navigators of Noah’s ark. Birds were important scouts of land and vegetation re-emerging in the Younger Dryas thaw. The bird below left perches on a T-shaped pillar, as at Gobekli. Here it expresses type 7 Child or Sagittarius, its head over a reed bundle or rope. Type 11 Womb or Virgo is a bird egg, and bird womb. People in the middle register each have a bench, as in Gobekli houses.
* See papers on Gobekli Tepe art and buildings, and the implications for science and culture, on http://www.stoneprint.wordpress.com and related papers in the anthropology journal Expression, volume 9, 10, 13, 14, 15, 16, Atelier Etno, Italy.
* See structuralist art analysis method, in context with philosophy, structural anthropology, depth psychology, and art history, with 200 demonstrations, in Furter, ED, 2014; Mindprint, the subconscious art code, Lulu.com, USA, about $28.
* Order the book Stoneprint (2016) via edmondfurter at gmail dot com.
See updates on structuralist analyses of Pictish beasts, crop circles, Paris, and London, in Stoneprint Journal editions. The edition featuring London is available from Lulu.com, 24 pages.