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culture is subconscious mindprint in modern art

Denver Airport Extinction art reveals our enviro bio-ruin

Artist Leo Tanguma’s large mural paintings at Denver Airport are themed on apocalyptic bio-warfare, destruction, and the struggle between Fascist and peaceful world orders. The Denver-based Chicano combines symbolism from history and mysticism, with American socio-political issues from his hybrid perspective, by 1900s Mexican political muralist techniques. This design was said to picture the 2001 9/11 terror attacks, but the airport had opened six years earlier. Archetypal features explain the similarity. One of the general themes in his Extinction artwork is revealed by extra features of type 2 Builder, typical of twisted postures (here of four characters), cluster (of plant and animal species), bird (four species), tower (city in the background), build (or cultures), ruin (fire and pollution), hero (preservation workers), book (Torah in coffin C), or spring (flowers).

Another general theme in Tanguma’s Extinction painting at Denver Airport is revealed by extra features of the four transitional types: 2c Basket v 9c Lid, and 5c Tail v 13c Head. Their fields (transitional types do not have their eyes on the axial grid, but are spaced between specific adjacent axes), are typical of woven texture (here 5c’s textile cloak), containers (glass boxes, coffins, carapace), hats (four headgear), arm-links (cradling animals or figurines), trees (here burning), or revelation (here of environmental extinction). The Denver Extinction of environment, animals and cultures panel, is juxtaposed by two panels on Peace and Harmony With Nature, dramatising bountiful and diverse life. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.

Leo Tanguma; Extinction painting, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.

 

 

 

 

 

 

Type Label; Character (noting archetypal features):

2 Builder; Buffalo (bovid) head, stuffed.

2c Basket; Parrot (bird) in glass box (container), held by (arm-link) an African woman. And elephant tusks (weapon, cluster).

3 Queen; Girl with a squirrel.

4 King; Jewish girl in coffin (rectangle) holding Torah including Genesis.

5a Priest; White leopard (varicoloured, felid of 12 opposite), dead (horizontal), left eye.

5b Priest; White leopard (varicoloured, felid of 13 opposite), dead (horizontal), right eye.

5c Basket Tail; American Indian woman in woven cloak (weave) in coffin (container), her head on leaves (herb), with animal (tail) god figurine.

6 Exile; Geometric person image (small) on American Indian woman’s cloak, further from the centre (egress).

7 Child; African woman in coffin.

9 Healer; Turtle (disc) lying flat (bent forward).

9c Basket Lid; Turtle carapace (disc, lid, hump).

10 Teacher; Purple parrot in flight (arms up).

11 Womb; White woman’s midriff (womb). And pelican in glass box (interior). And Sperm whale (water).

12 Heart; White woman’s chest (heart).

13 Heart; Chinese boy.

13c Basket Head; White woman with glass box (lid).

14 Mixer; Asian girl, near the centre (ingress), warning of extinction (time), at burning trees (tree).

15 Maker; African girl holding glass box (bag?) with bird.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Leopard’s jaw (limb-joint).

11p Gal.Pole; White woman’s left hand (limb-joint).

Midsummer; Asian girl’s shoulder (limb-joint).

Midwinter; Leopard’s hip (limb-joint).

The solstice markers are on the vertical plane. These polar triangles place midsummer between Leo and Cancer, implying spring and the cultural time-frame in Age Taurus-Aries.

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

  • See another Denver Airport panel by Tanguma, named Order of Chaos, on http://www.stoneprintjournal.blog
  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illsutrations, A4, perfect bound, $16), from Lulu.com on:

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

Some Stoneprint Journal editions are also available on Lulu.com

 

 

Categories
Mindprint in ayahuasca art mindprint in modern art Mindprint in peyote or mescaline art

Rudy Gutierrez’ musical art therapy

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).

Rudy Gutierrez; Guru and musicians (after Abduzeedo. Archetypal labels and axial grid by E Furter). His multi-sensory surreal style shares many features with ayahuasca art. Archetypal analysis demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this work.

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?).

7g Gal.Centre; Whitney Houston’s hands (limb-joints).

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 a painting and poster by the lesser recognised Frank Gutierrez in a post on edmondfurter.wordpress.com
  • 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.

 

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

Subconscious structure in the art of Doctor Dahesh

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

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

Lebanese mystic and miracle worker Doctor Dahesh collected art, and probably had some illustrations of Biblical metaphors of spiritual themes made by collaborators. Naturalistic figurative styling by Arabic-speaking artists is rare, after the iconoclast ban imposed by Islam.

Structuralist analyses of illustrations in the books of this transmuter or alchemist, reveals many of the universal, collective subconscious typology of features, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by certain limb joints, relative to Age of the artist’s culture.

The artist of some illustrations may have been Mrs Mary Chiha Haddad, sister of Laura, wife of Besharah el Khoury, former president of Lebanon. She was imprisoned in a mental institution for some time.

Type labels; Characters in the Paradise design of Doctor Dahesh (noting archetypal features):

2 Builder or Taurus; Peacock (bird) in a tree (tree).

2c Basket; Branches (weave) from a truncated stump. See the Mayan cacao tree engraving at Izapa, in Mindprint.

3 Queen or Aries; Small bird.

4 King or Pisces; One of two (twins) swifts (birds. See Persian images of Pisces as birds flanking a field. See the Mayan Izapa engraving’s type 4 as birds).

4p Gal.S.Pole; A swift’s wing (limb joint).

5a Priest or Aquarius; A swift (hyperactive).

6 Exile or Capricornus; A nymph, nearest the centre (ingress), emerging from the tree (tree. See the Mayan Izapa engraving of a tree person). With an extra woman on the left.

7 Child or Sagittarius; A dark man or baby? (child) head outline, under hair (rope).

7g Galactic Centre; Water (water) where a nymph emerges.

9 Healer or Scorpius; Spotted deer (more often an antler).

10 Teacher or Libra; Antelope, next to a butterfly (arms up). Some additional figures are ‘determinants’ of adjacent figures.

11 Womb or Virgo; Eve’s abdomen (womb). The goose is a supporting ‘determinant’.

11p Galactic Pole; Adam’s shoulder (imb joint).

12 Heart or Leo; Adam and Eve, eyes obscured (invert).

13 Heart or Leo; Eve’s chest (heart).

14 Mixer or Cancer; A bird (bird).

15 Maker or Gemini; A peacock tail feather ‘eye’, sin of Pride.

The axial centre is unmarked as usual. The 6-14 axis is slightly off the axial centre, implying some rework of either character 6 or 14 (see rework in Blake’s Dante Meets Beatrice in Paradise, in Mindprint). The work is a print (see the paper tear down the middle). It is signed G Davis or Pavis, or a similar name. It is uncertain whether this is a design after Dahesh, or dictated by Dahesh.

The celestial pole is on a branch knot (juncture). The celestial south pole is on the horizontal plane (orientation). These markers place ‘summer’ in Leo-Cancer, implying spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. Most artworks are framed in the time of the perceived formation of the culture of the artists, thus always one or two Ages prior to the work. Creation themes are usually framed in transitional eras.

The general theme in this Paradise scene could be type 10 Teacher or Libra, typical of nature-culture balance and abundance. Creation themes invite cosmograms. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.

Subconscious structure in the Inferno, in a book by Doctor Dahesh

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

Naturalistic figurative styling by Arabic-speaking artists are rare after the iconoclast ban imposed by Islam. Structuralist analysis of illustrations in books by the Lebanese sage, reveals many of the universal, collective subconscious typology of attributes, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by some limb joints, relative to the cultural Age.

Type labels; Characters in the Inferno design in a book by Doctor Dahesh (noting archetypal features):

1 Builder or Taurus; A devil on a pinnacle throne, sideways (twisted), horned? (bovid).

2c Basket; Souls entering hell (container) in a vortex stream (weave).

3 Queen or Aries; Fallen angel B.

4 King or Pisces; Fallen angel D, lashing souls.

4p Gal.S.Pole; Angel D’s shoulder (limb joint).

5a Priest or Aquarius; A purified soul emerging? (ascend).

6 Exile or Capricornus; A soul in torment (sacrifice or scapegoat).

7 Child or Sagittarius; Incarnated woman B.

8 Healer or Scorpius; A soul rising (strength).

9c Basket Lid; Abyss of hell (container).

10 Teacher or Libra; A soul with arms raised (arms up).

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

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

14 Mixer or Cancer; A soul escaping, against the stream?

15 Maker or Gemini; Fallen angel or devil A, near another (doubled), prodding souls (smite, churn) with a staff (sceptre). See Tarot trump 15, Devil, as a soul churner.

The axial centre is in the cave interior, but unmarked as usual. The celestial south pole is on a hip (limb joint), placing ‘winter’ in Capricornus-Sagittarius, thus ‘summer’ in Cancer-Gemini, implying ‘spring’ and the cultural time-frame in Age Aries-Pisces, about BC 80. The subconscious structure of any artwork is usually framed in the Age prior to the work. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.

The general theme here is type 15 Maker or Gemini (see Tarot trump 15, Devil, or worldly creator), and its opposite, type 7 Child or Sagittarius, often a formling or ‘buck bag’ of physical manifestation, next to the galactic vortex, here on the abyss of hell (see vortexes in Blake’s art, in Mindprint).

Doctor Dahesh worked miracles

Duktur or ‘Doctor’ Dahesh was a gifted miracle worker. Some witnesses tell how he transformed parts of paintings to life, leaving blanks in the paintings. These artworks express general themes related to incarnation and excarnation, manifestation and transmutation, or the archetypal axis between types 15 Maker or Gemini, and its opposite, type 7 Child or Sagittarius.

Paradise trees are  vertical vortexes (vortices, or churn groups in art), often expressed  in the galactic gate between types 15 Maker or Gemini, and its adjacent  type 1 Builder or Taurus, decan Auriga-Orion (here on a peacock tail of eyes).

Infernos are fire vortices, sometimes expressed at type 7g Galactic Centre lies, a little south-west of this gate. Rock art sometimes uses cracks in rock as a kind of veil from, or into, which animals or people emerge or move out of view (see Mindprint p164-169).

Miracle workers intervene in the mechanism of manifestation, or in perception of manifestations, via our fickle thoughts. Paintings are typical of manifestation, and of a vortex of images spun out of perception and inspiration.

Structural analyses reveal that some artworks express the moment of inspiration, when some of the characters are still ‘buck bags’ of moths manifesting from their limbs, and from the vortex at the ‘galactic centre’ of the work. All five levels of structural expression are subconscious to artists, storytellers, ritual liturgists,  and users of cultural media.

See a page on How to do structural art analysis, on this website.

See more art analysis examples, and some text on the philosophy and psychology of archetype, and on structural anthropology, on www.edmondfurter.wordpress.com

See articles on structural rock art analysis by ED Furter, in the anthropology journal Expression, editions 9, 10, 12, 13; and some articles in Atelier books, such as Rock art; When, Where to Whom, edited by Prof Emmanuel Anati. One of the articles is here: http://www.atelier-etno.it/e-journal-expression/

Order the book Mindprint, by Edmond Furter (2014), with 200 art and rock art illustrations, a critique of cognitive archaeology and art history, references, and an index of 400 tested artworks, from www.Lulu.com

Order the book Stoneprint (2016), from the author in Johannesburg, South Africa, on edmondfurter at gmail dot com