Artist Rudy Gutierrez illustrated music album covers for jazz, rock and reggae artists (John Coltrane, Gerald Albright, Roy Hargrove, Pablo Moses). He also painted the Jimi Hendrix 2014 memorial postage stamp, and many book covers. His painting of a guru or music producer with a collage of musicians is typical of his dynamic and multi-sensory, surreal style, sharing many features with ayahuasca and DMT art, such as spirals and vines. Structuralist analysis against the archetype model of universal subconscious expression, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this Gutierrez work.
Gutierrez sees art as therapy, visual art and music as connected, and is anti-drugs, like DK Dyson. He is also an arts academic and teacher. The dominant general theme in the Musicians painting is revealed by extra features of type 10 Teacher, typical of raised arms (here of all ten characters), staff (flower stalks and guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’). Another general theme is the polar triangles, typical of limb-joints (here raised arms, and active postures).
Type Label; Character (noting archetypal features):
2 Builder; John Coltrane (hero) with trumpet (twist).
2c Basket; Geometric (weave) bird. And guru’s ear (maze).
3 Queen; Guru’s left eye.
4 King; Guru’s implied third eye.
5a Priest; Guru’s right eye (‘priest’, hyperactive, assembly), pouring water (water).
5b Priest; Musician?, face frontal, sits on a sunflower.
5c Basket Tail; Two sunflower (weave) heads (plant, disc).
6 Exile; Bryan Adams or Bruce Springsteen, on a rose flower (tree).
7 Child; Whitney Houston points at her palm (unfold), on a throne (chariot?).
9 Healer; Bob Dylan (trance?) leans (bent forward).
9c Basket Lid; Stream (weave, reveal) from guru’s hands.
10 Teacher; Beads? (school?) and heart shadow in guru’s hands (arms-up).
11 Womb; Diana Ross?’s midriff, pregnant (womb) in a flower (crop), in the stream (water).
12 Heart; Diana Ross? In the stream (water-work).
13 Heart; Barbara Streisand’s chest (heart), in a flower.
13c Basket Head; Barbara Streisand. And Sunflower spiral (weave).
14 Mixer; Aretha Franklin, pointing (dance?), in a flower (tree).
15 Maker; Carlos Santana with guitar (sceptre), in flower bud (bag).
15g Gal.Gate; Rose heart (juncture) on chain (rope of 15). And trumpet (juncture).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Unmarked, probably on the vertical plane.
11p Gal.Pole; Barbara Streisand’s hand (limb-joint).
Summer; Rose boy C’s hands (limb-joints), and source of swift birds (limb-joints).
Winter; Angel? (limb-joints) and end of swift birds (limb-joints).
The solstice axle is on the horizontal plane of the axial centre, confirming summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. This ‘era’ is confirmed by the types of the main character’s left eye and implied third eye, in the top central position.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
See articles on, and examples of the archetypal structuralist model analyses, in the book Mindprint, the subconscious art code (2014), and editions of Stoneprint Journal, available on Lulu.com and in bookstores linked to Lulu.
Artist Lindy Kehoe’s child-styled artwork Serendipity Circus, pictures a semi-visionary dynamic, innocent and joyful moment of children and animals on rowdy, surreal parade in a garden. Her illustrative style is similar to Mark Chagall. She told Mindprint Art: “Chagall has represented a brother to me, in the dream-like trance state I experience when I paint, and when I saw his works first-hand. I have a deep fascination with tracing our hidden roots in etymology, and unveiling patterns and codes that flow from creation and creatives in the collective.” Some time ago she wrote of being ‘immersed in my own mythology… alive in a living story… attempting to weave the fabric of an old tapestry… wanting to be seen, heard, remembered; a story-keeper… to tell a Lemurian fairy-tale of heaven and earth… bringing alive the mythos of others through illustration… to conceive guardians we need, to protect our innocent courage… [in] the multi-dimensional holographic landscapes of dream-time.’
Type Label; Character (archetypal features):
1 Builder; Peacock (bird) on one leg (twist). And cat E.
2c Basket; Vine (weave) with pods (containers, cluster). And cats A, C, and D. And peacock feathers. And trumpet (container). C-types are off the axial grid, but between specific axes.
3 Queen; Tree-cat B (queen?) tall (neck long).
4 King; Vine leaf–eye A, one of two (twins).
5a Priest; Leaf eye.
5b Priest; Rabbit, violet (colour, not counted here due to abundance) with cymbals (priest, hyperactive) leading parade (assembly).
9c Basket Lid; Red fly agaric mushrooms (disc, lid) of trance (trance, reveal). And mushrooms (disc). And sea star (lid).
10 Teacher; Seed pods? And dog-tail (canid) as a serpent (snake), waving a stick (staff) in parade (carousel).
11 Womb; Mother giraffe midriff (womb).
12 Heart; Drummer clown child marching.
13 Heart; Mother giraffe chest (heart).
13c Basket Head; Elf (oracle) child with cap (hat, lid) picking inverted vine (tree). And candy-striped mountain peak cap. And cats G and H.
14 Mixer; Trumpeter (time, see Midsummer marker below) marching (dance), with feathers (angel) and peacock (bird) and banner, near the centre (ingress), left eye. And cat F.
15 Maker; Trumpeter marching (rampant, order), large face (face), right eye, with feathers (winged), with banner (sceptre, order). And heart on banner staff (sceptre) with motto (order). And sun face (face).
Axial centre; Trumpeter’s elbow (limb-joint).
4p Gal.S.Pole; Standard staff base (juncture).
11p Gal.Pole; Drummer child’s jaw (limb-joint).
Midsummer; Trumpeter’s jaw (limb-joint).
Midwinter; Unmarked. The solstice axle is on the vertical plane. These markers place midsummer between 14-15, analogous to Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, typical of many works made in Age Pisces, particularly towards the end of Age Pisces (which ended in 2016).
Some themes interlock
Kehoe’s Serendipity Circus artwork has an unusually large number of general themes, indicated by extra features of nine types:
3 Queen, typical of long necks (here seven cats and a giraffe), spring (garden);
6 Exile, of horns (caps, and cats’ vine-horns), reptile (tortoise, snake), tree (garden);
7 Child, of bag (two flags), juvenile (two children, young animals);
8/9 Healer, of pillars (tree-cats), disc (turtle, sea-stars);
10 Teacher, of raised arms (of rabbit, two children, dove and elf child), staff (two flag-posts), hunt-master (noise flushing out animals), guard (parade), ecology (fauna and flora), carousel (parade circle);
14 Mixer, of time (serendipity in the title), transform (trumpeter as bird, animals as musicians), tree (garden), felid (many cats), reptile (turtle, snake), dance (parade);
15 Maker, of rampant posture (marching), or order (flags and parade).
Yet another general theme is the four transitional fields, off the axial grid but between specific axes:
2c Basket, of weave (here feathers and vines), instrument (trumpet, drum, cymbals, flags), hat (caps, bells); and its opposite 9c Basket Lid, of discs (cymbals, turtle, sea-stars);
5c Basket Tail, of trees or herbs (garden); and its opposite 13c Basket Head of oracles (sigil on the tortoise back).
Expressing a large number of general themes is typical of visionary, trance, mescaline, psilocybin, ayahuasca or DMT art, often at the cost of leaving some individual character features at minimalist levels. Thematic integration indicates artistic and probably individual maturity.
General themes reveal that nature and culture tend to re-use certain slightly ambiguous features (particularly reptile, bird, felid, horns) in expressions of overlapping themes; while other ambiguous themes, such as equid, are reserved for other works.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Albrecht Durer’s emblematic and allegorical engraving of Melancholia, has inspired many interpretations. Its minimalist design uses several objects, particularly scientific instruments, as ‘characters’. Esoteric multimedia artist William Blake had a print of this engraving all his life (Word and Silence 2019). Blake’s own artworks also tended to be emblematic and structuralistically minimalist (Furter 2014). Durer’s Melancholy contains only four living characters (woman, cherub, dog, bat); far fewer than eleven, and thus outside the scope of structuralist analysis (Furter 2014, 2016). But minimalist artworks such as seals, cylinder seals, stamps and jewels, express all five layers of natural and cultural structure by using some items and limb-joints, which usually express polar markers in more complex workss (Furter 2018; Stoneprint Journal 5; Culture code in seals and ring stamps).
Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous: rectangle of types 4 or 15g; furnace or smelt or metal of types 4, 9, 10; disc of types 9,10; building or pillar of types 1v8; school or teacher of types 3v10; laws and crafts of type 10, 11; reptile of types 3v10 or 14; canid of types 9, 10, 14 (see a similar subconscious play on ambiguity in subconscious features of Henry Holiday’s illustrations for Lewis Carroll’s Hunting of the snark, in a post on http://www.edmondfurter.wordpress.com). General themes in Durer’s melancholia include;
4 King; squat (here of both humans), rectangle (magic square), sun (in view), furnace (crucible).
9 Healer; pillar (here the cube, building, and city), smelt (crucible), trance (meditation).
10 Teacher; arms up (here wings), staff (here dividers), metal, disc (millstone), school (crafts).
11 Womb; womb (here the prominent woman, and the sphere), water (here a bay), law (sciences and crafts), library (crafts skills).
14 Mixer; time (here an hourglass, and Temperance), transform (alchemy), angel (two humans), reptile (bat), canid (dog).
Transitional types 2c 5c 9c and 13c Basket, is the strongest general theme here, typical of instruments (here a workshop), revelation (sciences and crafts), disc (millstone, and implied by dividers), planet (sun in view), and metal (crucible and tools).
Ambiguity is a general archetypal theme, typically expressed in emblematic artworks (as in Babylonian, Indus and Egyptian seals), and by esoteric minimalist artists. Recent revelations that Indus seals function as rebus logos for metallurgy suppliers and traders (http://bharatkalyan97.blogspot.com) deserve more study to examine how some writing conventions came to be used with double meanings. Below is a structuralist anthropology analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019), noting its structuralist deficiencies, mainly for replacing eyes by other focal points.
Structuralist archetype model analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019). Minimalist artworks often use items as characters.
Type Label; Character (archetypal features):
2 Builder; Hourglass nail on the building (tower); time as accomplisher (build) and unraveller (ruin). NO EYE.
2c Basket; Scales pan B (instrument, container, arm-link or pivot-link).
3 Queen; Scales pivot (more typical of 10 opposite 3). NO EYE.
4 King; Sun (sun). And cherub sitting (squat). He also has polar functions (see 4p and Midwinter below).
5a Priest; Bat (reptile, winged, hyperactive) with banner (sash) and tail (tailcoat head), under rainbow (colours).
5c Basket Tail; Crucible (container). And cube with tetrahedron removed. Hammer. Dog tail (tail). And lamp?
6 Exile; Dog as lamb of God (sacrifice), curled ( U-shape). Canid is more typical of 14 opposite.
7 Child; Tongs rivet ‘eye’ (eyeless). The shape is more typical of 8.
7g Gal.Centre; Planer (juncture). And saw (juncture).Mallet or inkpad? (juncture). And foot (path).
9 Healer; Divider point A (bent ‘forward’, implied disc) of steel (metal). NO EYE.
9c Basket Lid; Purse (‘lid’, reveal).
10 Teacher; Divider point B (metal, ‘arms’, ‘staff’, implied ‘disc’).
11 Womb; Woman’s midriff (womb) or Science (gestation of knowledge).
12 Heart; Woman’s chest (heart).
13c Basket Head; Woman’s head (head) with wreath (weave, tree, hat), of Science (oracle).
14 Mixer; Woman as Temperance (time, angel) or Alchemy (transform) or the vice Melancholy (passing time); near the centre (ingress).
15 Maker; Bell attachment (churn?) with a rope (rope).
15g Gate: Magic square (grid) of 34. A grid is more usual between 15 and 1, here displaced to between 14 and 15.
22 Axial centre; Unmarked as usual.
4p Gal.S.Pole; Boy angel’s jaw (limb joint).
11p Gal.Pole; Woman’s hip (limb joint). More often inside the outline of types.
Midsummer (cp); Woman’s jaw (limb joint).
Midwinter (csp); Boy angel’s heel (limb joint).
The solstice axle is near the horizontal plane. These markers place midsummer in types analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre, expressing the central themes of time and balance. The time-frame is before the work, as usual. A Taurid time-frame is typical of alchemical works.
The analysis score is 25/68 archetypal features; 6/16 axial eye points; 13/4 c-type sector features; 4/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 6/2 general themes; thus 59/100, minus 0 extra characters off the axial grid; total 59%, close to the general average of 60%. Some excessive scores reveal that the current formula is adequate only if the indicated ‘maxima’ are ignored; and if excesses are considered as compensation for the impossibility of full scores in other structuralist layers. Thus the current analysis scoring formula requires further refinement.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
The dominant general theme in Eugenia Loli’s Nirvana artwork is revealed by extra features of type 1 /2 Builder. Its optional recurrent features include cluster (here people and planets), tower, building (here a vault or symbolic subconscious, as recognised by the Builders of the Adytum), hero (rope climber, astronaut, scientist, explorer), book (implied science and library), spring (shadows southward towards green fields), maze (staircases to space-time), and pit (vault). Compare this design with Tarot trump 16, Tower struck by lightning, often shown with scientists and measuring instruments blasted off by lightning of subconscious inspiration. A higher magnitude of 1 is 16 in base-8, an archetypal system often used in natural media (see Furter 2016; Stoneprint p74-81, including atomic numbers in the Periodic table in spiral format after Peyroux).
Type 1 /2 axial opposite is type 8/9 Healer, where optional recurrent features include strength (here the climber and astronaut), pillar (several), heal (implied by levels of consciousness, and maturing students), disc (protractor), smelt (atom), and trance (surrealist style). Between axes 2-9 and 3-10, lie the transitional fields of 2c Basket and 9c lid, whose optional features include weave (here a plant-nest, and atomic orbitals), instrument (telescopic viewers), container (cube), hat (climbing helmet, space helmet, spinning top ‘hat’, and exploration pith helmet), secret (space-time perspective), and planet (here five). Extra expressions of transitional types, and of types 5v12/13, is typical of art styled after ayahuasca, DMT and other hallucinogen visions.
In this work, all the other types, and the polar junctures in the centre, are also strongly expressed, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork. The ‘Three minutes’ in the title, is analogous to the three planes of space and time in cosmology; and the planes of consciousness of Ego-Shadow, Anima and Self.
The artist sees trials and technology as ‘evolution’
The artist wrote that her theme here is ‘the journey of humanity towards a higher state of being. The building and universe are all we could comprehend in human form… In the process, and part of progress, is war and misery. The cube is a teaser of the ultimate prize, placed by ascended people on the top level. The second level is about expanding our horizons towards enlightenment. The woman in black is ready to make the leap. The man on the staircase tries to call her back, but too late. Two people attempt to reach the third level, one climbing, one using trans-human space technology’.
Loli continues: ‘The climber and the astronaut would both evolve beyond human. The trophy in the cornice between painted angels, is just a trap, since climbers would have to leave behind vices, delusions, limitations and pride. Most never manage that. A skull is hidden in the flying spaghetti monster flower. At the very top, ascended people wait for newcomers to see the bigger picture beyond time and space.’
The presence in Loli’s work of all five levels of archetypal structure, as they are present in artworks and rock art works of the Ice Age, Younger Dryas, Bronze, Iron and modern eras, ironically contradicts the general assumption of ‘evolution’. But the need for individual maturity is part of the rationale of every human life, and perhaps of life itself. This artwork, and the archetypal ‘grammar’ within it, thus raises the unresolved issue of the extent of ‘evolution’.
Eugenia Loli; Three minutes to nirvana (after email@example.com with permission. Archetype labels and axial grid by E Furter). The work subconsciously expresses about 83% of the currently known archetypal structuralist features; an unusually dense expression for art, but common in complex, psychedelic, New Age, ayahuasca or DMT art where theme, design and inspiration are highly integrated.
Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork.
Type Label; Character (archetypal features):
1 Builder; Ascended or ‘evolved’ group (cluster) seeing the vault (pit) of several levels (tower, built, maze).
2c Basket; Tropical plant (weave) hanging like a nest (container, throne), holding a skull (monster, as of decan star Algol).
3 Queen; Spinning top, UFO or hat (more typical of 10 opposite, or 9c).
4 King; Venus or planet, its axis to its centre (womb, more typical of 11 opposite).
5b Priest A; Explorer (hyperactive) calling back the woman from leaving.
5b Priest B; Explorer’s second axis (hyperactive) on chest (heart, of 13 opposite).
5c Basket Tail; Air exit (maze).
6 Exile; Child A (small) using viewer (double-head) in U-mount (U-shape).
7 Child; Child B (juvenile) viewing fire vortex (unfold).
7g Gal.Centre; Fire vortex (vortex, juncture).
8 Healer; Child C using geometry projection (‘strong’, ‘pillar’) at protractor (disc) to imagine (trance) an atomic (smelt) cube.
9c Basket Lid; Atom (disc, reveal) with orbitals (weave) in a cube (lid, instrument) levitated by child (armlink). And protractor (disc, lid, instrument).
10 Teacher; Child D operating viewer (arm up, school).
11 Womb; Woman scientist (law), axis to her midriff (womb) in monument (interior) with cosmic knowledge (library), leaving the vault.
12 Heart; Woman scientist leaving or rising.
13 Heart A; Respirator case (‘heart’) of astronaut (angel).
13 Heart B; Astronaut’s (angel) chest (heart) and tanks (rounded).
13c Basket Head; Astronaut’s head (head) and helmet (hat, lid).
14 Mixer; Rope (more typical of 15) climber between spaces and times (time, transform, angel).
15 Maker; Cornice angel or genie (re-creator) in a pair (doubled, churn, order) at a trophy cup (more typical of 14).
15g Gal.Gate; Sun over vault opening (juncture). And a skull (more typical of 15).
Axial centre; Unmarked, as usual.
4p Gal.S.Pole; Unmarked.
11p Gal.Pole; Woman or scientist’s shoulder (limb-joint).
Midsummer or celestial pole (cp); A pillar capital (juncture).
Midwinter or celestial south pole (csp); A pillar base (juncture).
The solstice markers are on a vertical plane. These polar triangles place midsummer between Gemini and Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the presence of three types 5 (5a, 5bA, 5bB), which is analogous to Aquarius. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
The tentative structuralist analysis score is 45/68 archetypal features; 16/16 axial points; 12/4 c-type sector features [excessive scores are counted, to compensate for other fields where full scores are impossible due to inherent optionality]; 3/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 84/100, minus 1 extra character off the axial grid; total 83%. This total is above the upper average margin of the sigma curve of about 35% to 75%. See another unusually detailed expression of known archetypal features, in structuralist analysis of archetype in Marc Alexander’s artwork Prophetic antics, in a post on www.stoneprintjournal.blog).
The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount, to newly chosen Apostles, and a crowd west of Galilee, perhaps at the Horns of Hattin, an east-west ridge near Capernaum. Abbe Berenger Sauniere chose this scene for the theme of spiritual healing and ascension.
The western direction, and flowers, indicate spring or autumn sunset, perhaps from Rennes hill, with Casteillas left, and Couiza right (see Rennes le Chateau map 6 and 11). Some authors see it as Bains (11) Mt Cardou; or the Rose Line meridian through Bains, just west of the Paris Meridian; or Violets Hill between the two Rennes (see Bains map 1); or Mt Bugarach; or Roziers Hill. The scene could also be Lavaldieu hill, on the south between the two Rennes, on axis 3 of both.
General subconscious themes in the mural include type 2c Basket, here expressed by Christ; and its opposite, type 9c Lid, here as the bread bag of St Germaine, a girl from a nearby village. She used miraculous flowers in midwinter to hide a bread she had stolen for a beggar, a miracle of physical and spiritual healing. Another general theme in the work is type 5 Priest, here expressed by boy A, perhaps a future priest, Sauniere himself, with the other boy as his brother Alfred, also a priest.
The inscription below reads, “Come to me all who suffer and are overwhelmed, I will comfort you,” from a sermon of Bernard of Clairveaux, after Mat11;28. The cure requires a small task; “Come to me all that labour and are heavy laden, I will give you rest. Take my yoke on you, learn of me, I am meek and lowly in heart, find rest for your souls. My yoke is easy, my burden is light.” If St Magdalene is the woman weeping over Christ’s feet, she is a model of cure and service, since Christ had cast seven devils from her (Luk7;37), enabling her to anoint with tears and ointment. She was present at his crucifixion, a global exorcism of sins. She anointed his body again at the tomb. She saw him risen on Easter Sunday. In local legend she continued the Judaic royal line in France. Magdalene and her ointment vase in art, often expresses type 1/ 2 Builder (see emblems, such as Tarot trump 2, Priestess, Wisdom under a veil between two pillars. See the Types, trumps and hour decans table, in another post). Here her head is under Christ’s cloak. The risen Christ’s hand is now her ‘vase’ (type 2c Basket, container). The sermon is on eight spiritual blessings.
Sauniere had contracted artists from Italy to paint the commercial casts of statues and Cross stations, dictating some background scenes and revisions (Smith 2018), apparently to transpose Biblical episodes into a localised landscape ‘sermon’.
4 King; Mary (queen), kneeling to touch Christ’s garment. NO EYE.
5a Priest; Boy A. Perhaps St Germain and St Sulpice churches as ‘sons’ of St Vincent de Paul; or Sauniere himself and his brother Alfred, also a priest; or Bains and Rennes villages.
5b Priest; Boy A’s chest (heart, of 13 opposite). Transfer from a sketch to deep relief sculpture, may have moved this axis from the eyes of boy B and the father, to boy A (more reliefs should be tested).
5c Basket Head; Father of two boys (St Vincent de Paul?), with a crutch (leg posture).
6 Exile; Mother of a girl and a baby.
7 Child; Baby (juvenile) in swathing (bag), eye off the grid (common at 7).
8 Healer; St Germaine (see Rennes church floor 6, in another post), kneeling (bent forward), her apron with bread (healer) or gold (metal).
9c Basket Lid; Apron bag (container).
10 Teacher; Bread bag or gold (metal), torn (9c revelation). Wheat is more typical of 11. NO EYE.
11 Womb; Reclining wife’s midriff (womb) under her hands, probably pregnant.
12 Heart; Wife’s chest (heart).
13 Heart; Wife. And husband’s chest (heart).
14 Mixer; Husband, far out (egress).
15 Maker; Young man with an arm wound (more often leg wound; see Rennes church floor 15 St Rock statue, in another post).
Axial centre; Christ’s right foot (limb-joint).
4p Gal.S.Pole; Unmarked, or displaced to Mary’s elbow (limb-joint). MOVED?
11p Gal.Pole; Wife’s elbow (limb-joint).
Midsummer; Christ’s left foot (limb-joint), horizontal (orientation) from the axial centre, on axis 14-15. This marker implies that spring and the cultural time-frame is on axis 3-4, analogous to Age Aries-Pisces, the era at the start of Christianity. Artworks and building sites usually reflect the time-frame prior to the work. Structural layers of expression are subconscious to artists, architects, builders and members of any culture.
UPDATE: Structuralist art analyses of other Sermon on the Mount artworks, including Bloch and Dore
The mindprint in all artworks is structurally identical. The number of archetypal characters differ (usually twelve, fourteen, sixteen, eighteen or twenty); the characters differ (although some of their features usually (60% average) include one or two of the archetypal features specific to the type they express in the work; the direction of rotation may be in either direction; and the orientation of the subconscious structure differs (the top central type, or the position of the seasonal markers).
Sermon on the Mount by Bloch, 1877 (image after Wikipedia. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).
Part of the post above is an extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. Lulu.com, $10. Consider ordering journal editions with the book Mindprint, Lulu.com.
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 firstname.lastname@example.org or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4
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.