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culture is subconscious mindprint in modern art Stoneprint buildings and cities

Structuralist art analysis of Cibber’s battle plaques on Nelson’s Column

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).

This edition is available from Lulu.com (24 pages, $18), on this link:  http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html. Students and lovers of art and rock art should order it with the book Mindprint (Lulu.com, 264 pages, 200 illustrations, about $29).

Battle of Trafalgar plaque

Battle of Trafalgar plaque on Nelson’s Column, Trafalgar Square, London (Cibber. Typology and axial grid by ED Furter). Here Nelson is type 6 Exile or Capricornus (sacrifice). His empty admiral’s cap is type 1 Builder or Taurus, a structurally weak point, but still making subconscious sense. The typology is listed adjacent.

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

Battle of St Vincent plaque (Cibber. Typology and axial grid by ED Furter). No females are present, so the types 11 Womb or Virgo are on the ‘wombs’ of the men who also express type 13 Heart or Leo’s heart. The typology is listed adjacent.

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

Battle of Copenhagen plaque (Cibber. Typology and axial grid by ED Furter). Here Nelson expresses only polar types; his arm stump and left elbow as 11p and 4p ‘galactic poles’, his heart and hip as ‘celestial poles’. Type 7 as a pulley lacks an eye, but still holds a rope. The typology is listed adjacent.

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

Battle of the Nile plaque (Cibber. Typology and axial grid by ED Furter). Here Nelson’s eye is type 14 Mixer, and his heart is type 13 Heart. A youth is the ‘womb’ of the future. The typology is listed adjacent.

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.

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Many pillars on London’s axis 9, 9B, 9c

Nelson’s Column in Trafalgar Square expresses one of the type 9 Healer (typical of pillars) sites in London (see the map and some extracts from Stonepint Journal 4, on http://www.stoneprintjournal.wordpress.com and on http://www.stoneprintjournal.blog).

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).

STONEPRINT Journal series

This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

Or order the book Stoneprint (2016), or Mindprint (2014); or slide show talks; or to contribute articles, email edmondfurter@gmail.com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4

http://www.stoneprint.wordpress.com
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Back editions of 16pp, at $/E 12 plus postage each:
1 Pictish beasts ‘zodiac’
2 Crop circles are natural artworks
3 The stoneprint tour of Paris
4 The stoneprint tour of London. This edition is available from Lulu.com (24 pages, $18), http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

5 Culture code in seals and ring stamps

6 Rennes le Chateau stoneprint tour. Lulu.com, $10.

Students of anthropology, art history, psychology; and lovers of art and rock art should consider ordering editions with the book Mindprint (about 264 pages, 200 illustrations, $29).

Categories
mindprint in modern art Mindprint typology of sixteen visual archetypes

Structural analysis of some San Fancisco art

Here are some examples of the subconscious mindprint in San Francisco art. Structural art analysis applies to any area, any culture, and any era, from the Ice Age to today.

I label and mark out the usual set of typological characters, in their standard sequence, with the eyes of opposite types on the usual ocular (eye to eye) axial grid, and with the the tri-polar structure of certain limb joints near the centre.

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

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

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

 

 

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

 

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