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archetype culture is subconscious Stoneprint in site maps

Subconscious blueprint in Teotihuacan art and site plan

Structuralist analysis of Aztec murals, and the site plan of the ‘Sun’ and ‘Moon’ pyramids and maze of buildings at Teotihuacan, reveals the usual five layers of subconscious structure at several levels of scale. Treasures found in the cave starting under the Rain god’s temple, add mythic and ritual features to the layers of archetypal structure.

Teotihuacan mountain stream mural

Structuralist analysis of an apparently random or chaotic Aztec mural at Teotihuacan, reveals the usual five layers of subconscious structure. Several types are expressed by two characters on the same axis, and by extra adjacent axes (notably types 5a and 5b, here labelled Aq5,20 and Aq5,21). The four Heart axes are in the mountain stream, a conical but watery hill with waterfall and cave. In the site map below, see type 2 Builder (here labelled Ta2 for Taurus2), as Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster). See the Underworld notes below. Types 11 Womb and 12/13 Heart (here Vi11, Le12, Le13) are in the centre of this watery caved hill. In the site map (below), type 11 Womb is at the centre of the ‘Moon’ pyramid, and types 13 Heart (Le13) are at the centre of the ‘Sun’ pyramid. As usual, structuralist correspondences are not consciously intended, but arise from archetype.

Water hill mural at Teotihuacan, in the Tepantitla, near type 5b or Aq5,21 on the map. After Wikimedia. Calendric labels with archetypal numbers (see the site map list for detail), and axial grid by E Furter.

 

 

Leo sun and Virgo moon on Teotihuacan pyramids avenue

 

Teotihuacan pyramid field (after Rene Miller. Calendric labels and archetypal numbers, and axial grid by E Furter). North is 15.5 degrees left of top. Most other maps of this site are inaccurate.

The sequence of archetypes in Teotihuacan pyramid field is (noting globally recurrent, archetypal features with analogous calendric labels):

1 Builder or Taurus1; Feathered Serpent (bird) temple’s east forecourt.

2 Builder or Taurus2; Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster. See Underworld notes below).

2c Basket; Feathered Serpent’s court.

3 Queen or Aries3; Feathered Serpent’s west temple.

4 King or Pisces4; Feathered Serpent’s west forecourts, four rectangles.

5a Priest or Aquarius5,20; Very large court (large).

5b Priest or Aquarius5,21; A temple or palace.

6 Exile or Capricornus6; Small pyramid, far from the centre (ingress /egress).

7 Child or Sagittarius7; A quartered cluster.

8 Healer or Scorpius8; North complex.

9 Healer or Scorpius9; Palace of Quetzalpapalotl annexe.

10 Teacher or Libra10; West temple of ‘Moon’ pyramid.

11 Womb or Virgo11; ‘Moon’ pyramid core (womb).

12 Heart or Leo12; Palace of Jaguars (felid).

13 Heart or Leo13; ‘Sun’ pyramid core (heart).

14 Mixer or Cancer14; ‘Sun’ pyramid south temple, near the invisible axial centre (ingress).

15 Maker or Gemini15; Double structure (doubled).

15g or Gate; Moat (path, water) or boundary.

Axial centre; On the central avenue edge (juncture), at the ‘Sun’ pyramid enclosure SW corner (juncture).

Galactic axle (pG and pGs); Diagonally across the middle part of the central avenue (which is 15.5 degrees east of north), at about 19.5 degrees east of north. These angles derive from tetrahedral and spherical geometry, involving the irrational fraction pi.

Midsummer or Celestial Pole, pC; On the ‘Sun’ pyramid corner (juncture), about due east-west (‘horizontal’) from the invisible axial centre. This polar marker places the structuralist abstract ‘summer’ between types 13-14, in the sector of the half-type 13c Basket Head, analogous to Leo-Cancer months (labelled Le13 and Cn14). Thus ‘spring’ and the time-frame is in Age Taurus-Aries (always 90 degrees before midsummer), indicating BC 1500, before the work as usual. This subconscious ‘dial’ at the fifth level of subconscious archetypal expression, is always approximate, particularly when expressing Age transitions. In Aztec myth, the Fifth Sun manifested at Teotihuacan. More study of site features, as they are revealed by excavation, could reveal or contradict some archetypal features.

Underworld in Teotihuacan’s Rain Bird cave

A tunnel under the Feathered Serpent pyramid (see type 2 Builder in the list above) has thousands of treasures left as ritual dedications about 17m underground (Chavez 2004). Items include crystal eyes, spiral shells, metal spheres, and a miniature mountain landscape model with tiny pools of liquid mercury representing lakes as a kind of underworld. The walls of the tunnel were rubbed with powdered pyrite (fool’s gold) to imitate galaxy stars. A cluster of items is typical of type 1 and/or 2 Builder, analogous to the Pleiades and Hyades star clusters in Taurus, due to the common archetypal origin of cultural media. The tunnel passes below the nearby great plaza, from type 2 Builder, which recurrent features include caves (see the Appendix. See the Seven Sleepers cave of Ephesus in the Europe chapter). The tunnel also runs under type 2c Basket of Mysteries, which is often expressed as a hidden container, a secret, or delayed revelation. One end of the tunnel has three chambers with many items (cluster), including four greenstone figurines carrying bundles of objects, pendants, and pyrite mirrors, probably calendar characters. Watermarks confirm that the plaza above was flooded to imitate the sea of re-creation, with pyramids as metaphorical mountains re-emerging. Some theories (see http://lostscienceoftheandes.com/) propose that surface ponds may have acted as quake and volcanic detectors, since earth tremors resonate best at latitudes north or south 19.5 degrees.

In the Feathered Serpent pyramid (type 2 Builder, or Ta2), above the surface, were remains of about 100 warriors, kneeling with hands bound behind their backs, probably sacrifices (type 2 features include twisted postures). In the tunnel are many fragments of Storm god figurines, typical of type 1 Builder or Ruiner (labelled Ta1), perhaps ritually smashed to imitate or to cancel his destructive element. His features include lightning and underground waters, perhaps including volcanic lava (while the adjacent type 2 Builder more often expresses rain and mud-brick or adobe building). These cultural features may support Mayan geology science theories of ponds used as seismographs.

Palace of the Jaguars (type 12 Leo or Heart on the map) includes this mural of a jaguar (felid, analogous to decan Ursa retro) blowing a conch shell trumpet (type 11g, analogous to the Galactic Pole). Rain god Tlaloc’s three ’stars’ express three poles; the galactic pole before the shell, ecliptic pole above the shell, and celestial pole over its back.
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Egyptian art analysis

Egyptian art analysis; Hierakonpolis tomb 100 mural

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

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

Three chapters in an Exodus

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

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

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

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

 

 

Categories
Structural analysis of Solomon's Judgement in art

Structuralist art analysis of Solomon’s Judgement paintings

All recognised paintings, including scenes of King Solomon’s Judgement (of two mothers disputing one baby, under threat of a sword), express the standard sequence of subconscious archetypal characters, named mindprint. See structuralist analyses of five such artworks below.

Solomon's Judgement by Raffaello Sanzio. Standard mindprint analysis labels and axial grid added by Edmond Furter.

Solomon’s Judgement by Raffaello Sanzio. Type labels and axial grid added by Edmond Furter.

[[if a blank column appears, adjust the view zoom larger]]

Solomon as Pisces, and a modest queen as Virgo

King Solomon as type 4 King or Pisces and spring; a councillor as type 15 Maker or Gemini and summer;  a modest queen as type 11 Womb or Virgo and autumn; the ‘test’ baby as type 7 Child or Sagittarius and summer (Raffaello Sanzio, after Wikimedia. Type labels and axial grid by Edmond Furter).

Most of the elements of structuralist expression are subconscious to artists of any culture. Some calendric aspects are symbolic, and thus semi-conscious, but the precessional Ages are subconscious expressions.

Type labels; Characters in Raffaello’s Judgement of Solomon (noting archetypal features):

02 Builder or Taurus; Councillor B.

02c Basket; Solomon’s pillar (more typical of 9c opposite).

03 Queen or Aries; Councillor A.

04 King or Pisces; Solomon (king), on his throne (rectangular).

04p Gal.S.Pole; Solomon’s shoulder (limb joint).

05b Priest or Aquarius; Swordsman (hyperactive, large, weapon of 13 opposite).

06 Exile or Capricornus; Dishonest mother (sacrifice or sacrifist), near the centre (ingress).

07 Child or Sagittarius; The test baby (child).

09 Healer or Scorpius; ?? (a rare weak point in the sequence, not unknown in Raffaello’s work. See the initial omission of type 10 in his School of Athens design, compared to the final work, in Mindprint).

09c Basket Lid; The dead baby.

10 Teacher or Libra; Honest mother, arms in V posture (arms up).

11 Womb or Virgo; A woman’s midriff (womb).

11p Galactic Pole; His wrist (limb joint).

13 Heart or Leo; Councillor D’s chest (heart).

14 Mixer or Cancer; A woman, far from the centre (egress).

15 Maker or Gemini; Councillor C (sceptre).

The axial centre is on councillor A’s shoulder (limb joint). The celestial south pole is on his fingers (limb joint). A range of markers are possible, but Solomon’s left hand may place summer in Gemini, thus spring in Pisces, confirmed by the king’s type 4. The test baby at midwinter, and the story of the two babies as a type of 15 Maker or Gemini (doubled), confirm the temporal framework of the painting as Age Pisces, the era of the work. Most myths and artworks of Age Pisces, express their different dramas in the temporal framework of Age Aries, the preceding age; while works of Age Aries tend to adopt an Age Taurus2 framework. Few works from Age Taurus1 survive, and some of them express Age Gemini, or 90 degrees before Age Pisces, which ended in 2016. A few works have already expressed our transitional era, but most myths, rituals and artworks would express their dramas in the framework of Age Pisces, even long after the start of Age Aquarius in 2016.

Solomon's Judgement by Peter Paul Rubens. Mindprint structural analysis typology labels, and axial ocular (eye to eye) grid, added by Edmond Furter.
Solomon’s Judgement by Peter Paul Rubens. Type labels and axial ocular (eye to eye) grid added by Edmond Furter.

Solomon as Aquarian priest, on an Age Aries-Pisces throne

King Solomon as type 5 Priest or Aquarius. His famed throne, and the horizontal plane of the artwork, subconsciousl express the framework of Age Aries-Pisces, in this painting by Peter Paul Rubens. (after Wikimedia. Type labels and axial grid added by Edmond Furter). No artist was ever consciously aware of expressing subconscious structure in so much detail. Every artist differently expresses this Biblical episode (and similar scenes in other myths), yet all artists unerringly picture these features:

[] twelve to eighteen characters;
[] most with some of the standard attributes (see adjacent posts);
[] all in the standard sequence; all with their eyes exactly on an axial grid;
[] with two standard exceptions, a heart and a womb on the grid;
[] around a mirrored tri-polar centre formed between two, three or four limb joints;
[] with the horizontal or vertical plane confirming one of the edges of the polar triangles.

The five-layered structure is the subconscious cultural re-expression of natural structure, while both express archetypal structure (Furter 2014; Mindprint, the subconscious art code).

Type labels; Characters in Rubens’ Judgement (noting archetypal features):

01 Builder or Taurus; Solomon’s wand bauble (see him with Queen Sheba, Mindprint p246, where both their wands express characters).

02c Basket; his throne.

03 Queen or Aries; Solomon’s throne arm lion dragon, head forward (neck long or bent).

04 King or Pisces; A noble.

04p Gal.S.Pole; His elbow (limb joint).

05a Priest or Aquarius; Solomon in robes (priest, varicoloured, hyperactive, large).

06 Exile or Capricornus; Councillor (ingress /egress).

07 Child or Sagittarius; Soldier B.

07g Galactic Centre; Solomon’s pillar (of 8 adjacent).

08 Healer or Scorpius; Soldier C (strength), at Solomon’s pillar (pillar).

09c Basket Lid; swordman, and Solomon’s castle.

10 Teacher or Libra; Dishonest mother.

11 Womb or Virgo; Dishonest mother’s midriff (womb).

11p Galactic Pole; Dishonest mother’s wrist (limb joint).

12 Hear or Leo; The test baby’s chest (heart), inverted (invert), under a sword (weapon).

13c Basket Head; The test baby.

14 Mixer or Cancer; The dead baby, far from the centre (egress).

15 Maker or Gemini; Honest mother.

15g Gate; Steps (juncture).

The axial centre is unmarked as usual. The celestial south pole is on Solomon’s finger (limb joint). The vertical plane (orientation) confirms the polar triangles, and places summer at Cancer-Gemini, thus spring, and the Age, at Aries-Pisces, the transitional age prior to the work.

Nearly all elements of structural expression are subconscious to artists and members of every culture, past and present. It is likely to remain so, since expression of the structure cannot be faked (see the Mindprint chapter titled Mission Impossible).

Solomon's Judgement by Bramer. Mindprint structural analysis typology lables, and ocular (eye to eye) grid, added by Edmond Furter.
Solomon’s Judgement by Bramer. Type lables and axial grid added by Edmond Furter.

Solomon on an Age Pisces throne

King Solomon’s judgement in Bramer’s engraving expresses his throne as type 4 King or Pisces, or spring; and his pillar as type 15 Maker or Gemini, or summer. The story of the two mothers and two babies (doubled) set the theme as Gemini, or summer, and Sagittarius, winter, which they express here. (after Wikimedia. Type labels and axial grid added by Edmond Furter).

Type labels; Characters in Bramer’s Judgement of Solomon (noting archetypal features):

02 Builder or Taurus; Councillor A.

02c Basket; Solomon’s turban (weave, cover).

03 Queen or Aries; Solomon, bent forward (neck long or bent); and councillor B; and councillor C.

04 King or Pisces; Solomon’s lion throne eye (rectangular, squatting).

04p Gal.S.Pole; Solomon’s ankle (limb joint).

05a Priest or Aquarius’ Noble B (varicoloured), in foreground (large).

05b Priest or Aquarius; Noble A (varicoloured), in foreground (large).

06 Exile or Capricornus; Noble C, far from the centre (egress).

07 Child or Sagittarius; The test baby, and dead baby in a bag? (bag).

07g Galactic Centre; Man D.

09 Healer or Scorpius; Man C, in the gate (pillar).

09c Basket Lid; Man B.

10 Teacher or Libra; Man A. And honest mother, arms in V posture (arms up).

11 Womb or Virgo; Dishonest mother’s abdomen (womb).

11p Galactic pole on swordsman’s elbow (limb joint).

12 Heart or Leo; Swordsman (weapon), axis to his chest (heart).

13 Heart or Leo; Dishonest mother (11% inversion, 10% weapon).

14 Mixer or Cancer; Swordman, near the centre (ingress).

15 Maker or Gemini; Solomon’s pillar, one of a pair (doubled).

15g Gate; Canopy ropes (of 15 adjacent).

The ecliptic poles are on the axial hub, on Solomon’s pillar. The celestial poles are both on Solomon’s pillar, on the vertical plane, placing summer on or near Gemini, thus spring in Pisces, or Age Pisces, the era of the work. Most of the elements of structural expression are subconscious to writers and artists of any culture.

Solomon's judgement by Girgione. Mindprint typology labels, and ocular (eye to eye) axial grid, added by Edmond Furter.
Solomon’s judgement by Girgione. Type labels and ocular (eye to eye) axial grid added by Edmond Furter.

Solomon’s minister rules Age Pisces

King Solomon as type 5 Priest or Aquarius in Girgione’s painting of his judgement. His minister, at the centre, expresses type 4 King or Pisces. The story of the babies set the theme as Gemini, but here they express other types, while nobles express Gemini and summer, and aged councillors express winter (Abcgallery. Mindprint labels and axes added by Edmond Furter).

Type labels; Characters in Girgione’s Judgement of Solomon (noting archetypal features):

01 Builder or Taurus as a horseman?

02 Builder or Taurus as a ram and a horse, on same axis as 1 and 3 (cluster).

03 Queen or Aries as a ram (ovid). And a horse (neck long or bent)

04 King or Pisces as central man in frontal posture (rectangle).

04p Galactic south pole on central man’s shoulder (limb joint).

05a Priest or Aquarius as a woman.

05b Priest or Aquarius as Solomon (varicoloured, hyperactive, large).

06 Exile or Capricornus as councillor B, near the centre (ingress).

07 Child or Sagittarius as two elders, one with shoulder rope (rope).

07g Galactic Centre; Councillor’s feet (path, juncture).

09 Healer or Scorpius; Dead baby’s other eye (opposite three characters at type 1, 2, 3).

09c Basket Lid; Dead baby in swaddling (cover, secret).

10 Teacher or Libra; Dead baby.

11 Womb or Virgo as dishonest mother’s womb (womb).

11p Galactic pole on test baby’s shoulder (limb joint).

13 Heart or Leo as nobleman’s heart (heart).

13 Heart or Leo as test baby.

14 Mixer or Cancer as ? Perhaps the initially planned position of the test baby? Near the centre (ingress), OFF THE GRID.

15 Maker or Gemini as a noble couple.

The axial centre is on the central man’s right hand (limb joint). The celestial pole is on the central man’s hip (limb joint). The celestial south pole is on a man’s hand (limb joint). The vertical plane confirms the polar markers, placing summer in Gemini, thus spring in Pisces, or Age Pisces, the era of the work.

Nearly all the elements of structural expression are subconscious to artists, architects, builders and members of any culture.

Solomon's Judgement by Hans von Kulmbach. Mindprint typology labels, and ocular axial grid added by Edmond Furter.
Solomon’s Judgement by Hans von Kulmbach. Type labels, and ocular axial grid added by Edmond Furter.

Solomon as a Geminian summer

King Solomon as type 15 Maker or Gemini, and summer, in Hans von Kulmbach’s sketch of his judgement (Getty. Mindprint labels and axes added by Edmond Furter). The test baby expresses Sagittarius or winter in Age Pisces.

Type labels; Characters in Kulmbach’s Judgement of Solomon (noting archetypal features):

01 Builder or Taurus as (twisting, bovid).

02 Builder or Taurus as Solomon’s pillar capital face.

02c Basket as Solomon’s staff head.

03 Queen or Aries; Councillor A, neck bent (neck long or bent).

04 King or Pisces as councillor B.

04p Galactic south pole on the sword tip (rarely an item).

05a Priest or Aquarius as the honest mother, restraining the man (hyperactive).

05b Priest or Aquarius as swordsman (hyperactive, large).

06 Exile or Capricornus as ? OFF THE GRID (a purse belongs here too; the mothers are said to be prostitutes).

07 Childor Sagittarius as the test baby.

07g Galactic centre on the steps (juncture, path).

08 Healer or Scorpius as his other eye, opposite the other pillar capital face.

09 Healer or Scorpius as the dead baby, opposite the pillar.

09c Basket Lid as the purse.

10 Teacher or Libra as her ermine skin purse (a kind of sacrifice, more usual at 6).

11 Womb or Virgo as dishonest mother’s womb (womb).

11p Galactic pole on her elbow (limb joint).

12 Heart or Leo as dishonest mother’s heart (heart), consenting to the sword blow (weapon).

13 Heart or Leo as man C’s heart (heart).

13c Basket Head as man B, man C, man D.

14 Mixer or Cancer as man A.

15 Maker or Gemini as Solomon ordering a swordsman (smiting), and holding a sceptre (sceptre).

15g Gate on Solomon’s canopy.

The axial centre is unmarked as usual. The celestial pole is on Solomon’s knee (limb joint). The celestial south pole is on Solomon’s foot (limb joint). The vertical plane confirms the polar markers, placing summer in Gemini, thus spring in Pisces, in Age Pisces, the era of the work. Nearly all the elements of structural expression are subconscious to artists, architects, builders and members of any culture.

Solomon's Judgment by Tissot. Mindprint typology labels and ocular (eye to eye) axial grid added by Edmond Furter.
Solomon’s Judgment by Tissot. Type labels and ocular (eye to eye) axial grid added by Edmond Furter.

Solomon as Aquarian priest-king

King Solomon and his throne in a painting by Tissot, as the two types of Aquarius, while the top centre of the grid indicates summer in Taurus-Gemini, thus Age Pisces-Aquarius. (Wikimedia. Mindprint labels and axial grid added by Edmond Furter). Solomon is described as a priest-king, and the wisdom literature attributed to him is typical of type 5 Priest or Aquarius, who is often expressed as a ritualist, such as a preacher or baptist.

Every artist expresses the stock characters as different types, however Solomon tends to express either 5 Priest or Aquarius; or the recent spring types; 3 Queen or Aries; 4 King or Pisces (or its summer cardinal 15 Maker or Gemini, as he does in some scenes with Queen Sheba, included in the book Mindprint).

Type labels; Characters in Tissot’s Judgement of Solomon (noting archetypal features):

02 Builder or Taurus; Man B1.

02c Basket; Solomon’s pillar (more usual at 8/9).

03 Queen or Aries; Solomon’s pillar (more usual at 8/9).

04 King or Pisces; Man in the crowd.

04p Gal.S.Pole; Elder’s shoulder (limb joint).

05a Priest or Aquarius; Solomon, with jewels (varicoloured, hyperactive, large).

05b Priest or Aquarius; Throne arm right lion head (horizontal, sometimes felid instead of its opposite, Leo); and as throne arm left lion head (ditto).

06 Exile or Capricornus; Throne flank animal carving.

07 Child or Sagittarius; Throne foot face.

07g Galactic centre; Steps (juncture, path).

09 Healer or Scorpius; Dead baby.

10 Teacher or Libra; Honest mother, arms V posture (arms up).

11 Womb or Virgo; Dishonest mother’s womb (womb).

11p Galactic pole; Mother’s elbow (limb joint).

12 Heart or Leo; Dishonest mother, allowing the sword blow (weapon).

13 Heart or Leo; Swordsman’s heart (heart, weapon).

14 Mixer or Cancer; Swordsman.

15 Maker or Gemini; Man B6.

The axial centre is on a hand? The celestial pole may be on an elbow (limb joint). The celestial south pole may be on a wrist (limb joint). The vertical plane may place summer in Gemini-Taurus, confirmed by the hand placing winter in Sagittarius-Scorpius; thus spring in Pisces-Aquarius, our current transitional Age. Tissot subconsciously expresses his version of the story, and the five layers of his mindprint, in the current transitional time-frame.

Most of the elements of structural expression are subconscious to artists and members of every culture. The structure was never ‘lost’, since it was never consciously found. Even after its identification, artists would continue to design from archetypal inspiration.

Mindprint, our subconscious art code, was hidden in plain sight for millennia

No secret tradition, no art school, and no astrologer ever consciously knew this structure. Myths, rituals, and constellations also express the standard set of types, all as pairs of opposites on an axial grid.

Our collective subconscious makes, and maintains our myths, calendars, art, and constellations; not the other way around. All are ‘originally’ inspired.

We express archetypal structure, we did not invent or develop it. No artist was ever consciously aware of expressing subconscious structure in much detail. Every artist expresses this Biblical episode (and similar scenes in other myths) differently, yet all artists unerringly picture;

[] twelve to eighteen characters;
[] most with some of the standard attributes (see a more detailed list in Mindprint);
[] all in the standard sequence; all with their eyes exactly on an axial grid;
[] with two standard exceptions, a heart and a womb on the grid;
[] around a mirrored tri-polar centre formed between two, three or four limb joints;
[] with the horizontal or vertical plane confirming one of the edges of the polar triangles.

The five-layered structure is the subconscious cultural re-expression of natural structure, while both express archetypal structure (Furter 2014; Mindprint, the subconscious art code).

Thus, above are five sets of evidence for subconscious expression of archetypal structure, using the paintings selected by another author, who interpret the paintings as ‘secretly encoding some constellations in a quarter of a star map.’ (see guest author David on www.grahamhancock.com). I have many reasons to disagree with such a fundamentalist, conscious, developmental, diffusionist, and conspirational approach.

Note the variation between artists, on which character expresses which type, thus they did not follow a template.

The artists followed an innate compulsion to complete the set of characters; each with some of their variant attributes (noted in brackets); in sequence; and with their eyes on an axial grid that crosses in one point. The two ‘exceptions’ to the eyes, one axis to a heart, and one axis to a womb, are standard parts of the typological set. And there are six polar features that are difficult to explain to non-astronomers.

If tempted to conclude that all these artists had the same star map, precessional polar ratchet included, note that the closest analogy to the mindprint grid is an eclipo-centric hemisphere projection (not a celesto-centric hemisphere projection).

And note that mythical and artistic figures are not mere copies of constellation gestalt (connected dots).

I also criticise De Santillana and Von Deschend’s Hamlet’s Mill, since they assume a conscious crypto-astronomical tradition, that became ‘degraded’ with time. However, the opposite is true.

The ‘tantalising fragments’ and the ‘lost whole’ are now within our conscious reach, holistic, and revealed to have been ever present, maintained by all civilisations, even without mutual contact. It was never lost, since it had never been consciously found before.

Which type is king Solomon?

Characters are interchangeable in most myths, as Levi-Strauss found. The structure remains intact across variants of the myth, and across myths in a cycle.

Some myths focus on particular types, just as all artworks express the entire archetypal set and structure, as well as some dominant themes. Mindprint found that structure is the message, despite the dominant theme.

Solomon could adopt various guises, much like Apollo, or Hercules, or planets. In the story of his Judgement, he is a priest (usually type 5 Priest or Aquarius), a king (often type 4 King or Pisces), and a judge (usually type 11 Womb or Virgo, or mother). But he judges two mothers, so he is a higher authority.

Type 5 Priest or Aquarius includes the feature of judgement, as of a last judgement (Mindprint p80 -81). Tarot trump 20, labelled Judgement, usually pictures three patriarchs at an altar or grave, under a trumpet blast. The emblem tradition that the trumps re-ordered, includes remnants of an Aquarian midwinter, since passed to Capricornus (scapegoat etc), and recently to Sagittarius (centaur etc).

Type 5 Priest or Aquarius, is well known in emblematic art, and appears in the Tarot deck as trump 5, Pope, issuing blessings and the occasional theological, and occasional social judgement.

Some of the sixteen archetypes isolated in Mindprint, have two ‘decanal’ labels, at a higher level of numbers (1:16, 2:17, 3:18, 4:19, 5a:20, 5b:21). The use of two adjacent numbers for two 5 Aquari, is for numerological reasons in octal, or base9.

The Tarot deck designer, or the calendric poem cycle of Plutarch, or the unknown painting that the arrangement of the popular emblems derived from, probably did not know this. Her or she or they probably just followed a system that felt right, or that worked, just as astrology works.

We could read Solomon’s judgement as prefiguring the last judgement (5a Priest or Aquarius); as social justice overriding natural justice (11 Womb or Virgo and 10 Teacher or Libra, scales); as a Spring ritual, updated from Aries to Pisces (4); as theological hair-splitting.

To read myth as as cryptic astrology is an error. Myth, ritual, calendars, and art are the cultural media that work out our contradictions and therapies, while the constellations are just a myth map with some calendric content, although a good map, and a cultural expression in its own right, it has no priority over myth.

Constellation labelling comes directly from myth, not the other way around.

To read scientific knowledge into myth, is en error. Ironically, Solomon’s pillars and brazen vessels themselves tell a tale about time machines of knowledge, a kind of eternal record.

For example, it may illuminate the study of philosophy and mythology to read Solomon’s Judgement as nuclear physics; the test baby could be of mother A or B, just like Schrodinger’s cat is alive and dead, until an observer judges its state; an electron could be of proton A or B, depending on when an observer intervenes; an atom could be split, or revert to a stable state; an electron reveals whether a nuclear particle is charged or not; etc.

But it would be an error to assume that the Bible is literal history, or that Solomon was a nuclear physicist, or that the Bible compilers encoded astronomy into the text. One worm could not explain the can or worms!

The writers merely juggled the usual set of cultural content (as Homer did), with the usual socio-political aims, incidentally to express structure itself. Mythographers work on the conscious end of the material, but like a Rubic cube, only certain sequences could transform between the possible tessellations.

How to test structuralist revelation

Welcome to the revelation of the glboal subconscious ‘secret’. If tempted to believe that I, or the querent, have selected a special set of paintings, see more of the same five-layered structure in some of the about 700 tested examples of the of every culture, and every age, at; www.edmondfurter.wordpress.com

Anyone could test thousands more art and rock art works, and building sites, using the same list of types, their sequence, and the ocular axial grid (among focal points in building sites).

To test other artist’s versions of the same myth, or any other theme, copy and paste this standard set of labels, and the list of average frequencies of some of their main attributes, in order to recognise them (pairs of opposites on the same axis, are given above/below one another here);

1Builder 2Builder 2cBasket 3Queen 4King 4p

8Healer 9Healer 9cLid 10Teacher 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g

12Heart 13 Heart 13cHead 14Mixer 15Maker 15g

 

cp   csp  ?  ?

If the analysis needs more than one question mark, try a different sequence, or a different grid (before doubting the inspiration of the artist, or the mindprint model).

See a short description of HOW TO complete archetypal structural art analysis, including the standard analysis caption format (to simplify statistics, possibly to reveal more recurrent features than those already isolated), in an adjacent post.

Categories
Mindprint typology of sixteen visual archetypes

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

Here are some examples of type 12/13 Heart or Leo, one of which always (85% in all artworks, building sites and some other cultural media globally) has his axis to his chest instead of his eye, as the other types in the cycle of sixteen have. The heart is an inner eye, however archetypal features are subconscious, and do not follow conscious or conceptual logic.

See more examples in other posts (where this type is marked by the label [le12] and/or [le13]). Its place on the ocular (eye to eye) axial grid is always opposite type 5a/5b Priest or Aquarius.

Type 12/13 Heart or Leo is often felid (lion, tiger, puma); and/or inverted (particularly at type 12 Leo); and/or carries a weapon as a lord of life and death; and/or equid (horse, ambiguous with his opposite type 5 Priest or Aquarius).

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

 

An African Shiva in a cosmic battle

Type 13 Heart or Leo as the heart of a multi-headed hero or army general (South Africa, Albany Alb03 1r rock art panel. See multi-headed healers and horses in Indian art. In the myth map of constellations, this type equates with Leo and Ursa, both capable of forming horses. However art does not derive from constellations; both derive from archetypal inspiration, and therefore some of the features of myth, ritual, and art co-incide.

Some expressions borrow from others, as astronomy borrows from myth to name constellations, and astrology borrows from myth to interpret seasonal cycles. Visual expression is a function of an integrated set of concepts, and some are incidental with some of the variant stick figures that we animate among incidental dots in the moving sky.

Ursa offered a string of ‘heads’ along its back as polar markers during Age Taurus (see a lion with stars along its back in the Seti1 ceiling). Ursa was the initial polar torn-off foreleg, as summer to the former spring point at 1 Taurus Hyades (Bull face), and later at 2 Taurus Pleiades, a cluster of seven stars (a small foreleg). Type 14 Mixer or Cancer Ursa Minor took over the summer foreleg role in Age Aries, and by coincidence also has seven stars, as a smaller foreleg.

5b Priest or Aquarius here mirrors the posture of its opposite at 13.

A celestial polar marker on a hip, and on the horizontal plane, tag the inspiration to Age Pisces-Aquarius, our current era. However artworks are more often expressed within the temporal framework of the era preceding the artist, or the era when the current culture was formalised.

Sustained co-incidences of many attributes in art, myth, ritual and religion worldwide, due to archetypal inspiration, tempt the relevant sciences into looking for diffusion routes. Thus some academics, and many amateurs, see this multi-limbed figure as made by an Indian, or learned from Indians. Even if the artist had seen an image of a Shiva or a Kali, the attributes of this figure remain rooted in archetype. Hundreds of other examples of these attributes worldwide, such as the large weapon (10% average frequency in art worldwide); and the invisible (and subconsciously aligned) axis from its opposite type to its heart (85% average frequency in artworks worldwide); and the scythe of the emblematic figure of Death in Tarot trump 13; and the horse of similar emblems; and multi-legged horses in myth, such as Odin’s horse Sleipnir in Nordic culture; all indicate that similarities, even as complex as the four-layered mindprint structure, do not require diffusion, teaching, or learning. All cultures have equally complex myths, rituals, and art. Beneath apparent differences, and distinctive styling, the core content of cultural expression is identical.

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

Hearts and minds in a cosmic battle

Type 13 Heart or Leo as the chest (heart) of a multi-legged horse (equid) or army of a hero (Indian Asuras and Daityas seeking elixir. R Storm; Legends and myths of India, Egypt, China and Japan. Hermes House).

See flying antelope (aelites or flying buck) and flying horses in rock art. See Tarot trump 13 as death militant on a horse, and many similar emblems in calendric and other visual traditions.

A celestial pole on a covered foot tags the inspiration to Age Aries-Pisces, probably prior to the work, but indicating the era of the cultural reformation that re-formalised or appropriated the classical styling.

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

Doubled duats

Type 12 Heart or Leo as the chest (heart) of the outer of four inverted (invert)  figures, and the outer of four figures before the retro face of a double-headed leonine sphinx (felid), in a partially concentric, contra-rotating double imprint of decans on three registers (Egyptian Book of Caverns section 3, BC 1426. AG Shedid cited in Wim van den Dungen. Sofiatopia).

Decans are fairly simple and probably consciously recognised as hours, or reduced to twelve that could also signify months. Here the sequence is boustrophedon (as the ox ploughs, in alternating directions), with a few quirks.

Top register left to right;

3 Queen or Aries between two serpents, with the sun as a spring marker.

2 Builder or Taurus Pleiades as seven (cluster) bull men (bovid), with a former spring marker (spring).

1 Builder or Taurus as mummies (cluster) under mounds.

15g Galactic Gate as three shrines (juncture).

15 Maker or Gemini in a shrine with strings (rope) of ten mummies (churn).

Middle register right to left;

14 Mixer or Cancer group.

13 Heart or Leo group as a burial (death).

12 Heart or Leo group.

11 Womb or Virgo as the sphinx (felid) abdomen (womb).

10 Teacher or Libra as Amun (school) with a staff (staff).

Lower register oscillating;

Central; 9 Healer or Scorpius as a shrine snake.

8 Healer or Scorpius and 7g Galactic Centre as a snake (healer) shrine (juncture).

Right; 7 Child or Sagittarius as decapitated Ages (decapitated. See the Narmer palette in another post, and in more detail in Mindprint).

Left; 6 Exile or Capricornus as small supplicants (small).

Right; 5 Priest or Aquarius as large prisoners.

Left; 4 King or Pisces as large supplicants.

Centre. 4p Rectangle (juncture, rectangle, of 4).

The outer cycle of characters is clockwise, sharing four characters, from 2 to 14, with the other cycle; then following eight alternative features in already used characters, from 13 to 4, incidentally agreeing on types 8 and 6.

The inner cycle among characters in the lower two registers on the right, forms an independent anticlox sequence, agreeing with decans on types 14, 13, 12, 11, 10, then below on 9, 8, (not 7 or 6), 5, (not 4, 3, 2, 1, 15). Some groups have extra figures with relevant features at the ready. Outer and inner imprints converge on 14 and 9.

Dual identifications (the bottom centre figure here expresses three types) appear in several decanal sets (see Seti1’s ceiling, in Mindprint, and in another post). Decans are prone to great variety (as Neugebauer and Parker noted in their study of Egyptian decans. See also Aldred on this theme). Double imprints account for confusing variety among decanal sets. Some conscious genius may be scrambling inspiration here, as also practiced by legendising and historicising mythology and theology.

Decanal sets are examples of schooled inspiration, yet conscious and subconscious sequences live separate lives. No standard set of decans ever emerged.

Decanal art understates the attribute, sequence, structure, polar and orientation features of mindprint.

Celestial polar markers of the outer mindprint, on burial feet and a Sphinx elbow, tag the inspiration as Age Aries, incidental with the spring sun over decanal Aries. Celestial polar markers in the inner mindprint on an inverted foot and knee, confirm Age Aries.

* See a list of all the known features of the types, with 200 illustrations, in Mindprint by Edmond Furter (2014, Lulu.com).