Categories
mindprint in modern art

Durer’s Melancholy expresses archetypal ambiguity

Albrecht Durer’s emblematic and allegorical engraving of Melancholia, has inspired many interpretations. Its minimalist design uses several objects, particularly scientific instruments, as ‘characters’. Esoteric multimedia artist William Blake had a print of this engraving all his life (Word and Silence 2019). Blake’s own artworks also tended to be emblematic and structuralistically minimalist (Furter 2014). Durer’s Melancholy contains only four living characters (woman, cherub, dog, bat); far fewer than eleven, and thus outside the scope of structuralist analysis (Furter 2014, 2016). But minimalist artworks such as seals, cylinder seals, stamps and jewels, express all five layers of natural and cultural structure by using some items and limb-joints, which usually express polar markers in more complex workss (Furter 2018; Stoneprint Journal 5; Culture code in seals and ring stamps).

Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous: rectangle of types 4 or 15g; furnace or smelt or metal of types 4, 9, 10; disc of types 9,10; building or pillar of types 1v8; school or teacher of types 3v10; laws and crafts of type 10, 11; reptile of types 3v10 or 14; canid of types 9, 10, 14 (see a similar subconscious play on ambiguity in subconscious features of Henry Holiday’s illustrations for Lewis Carroll’s Hunting of the snark, in a post on http://www.edmondfurter.wordpress.com). General themes in Durer’s melancholia include;

4 King; squat (here of both humans), rectangle (magic square), sun (in view), furnace (crucible).

9 Healer; pillar (here the cube, building, and city), smelt (crucible), trance (meditation).

10 Teacher; arms up (here wings), staff (here dividers), metal, disc (millstone), school (crafts).

11 Womb; womb (here the prominent woman, and the sphere), water (here a bay), law (sciences and crafts), library (crafts skills).

14 Mixer; time (here an hourglass, and Temperance), transform (alchemy), angel (two humans), reptile (bat), canid (dog).

Transitional types 2c 5c 9c and 13c Basket, is the strongest general theme here, typical of instruments (here a workshop), revelation (sciences and crafts), disc (millstone, and implied by dividers), planet (sun in view), and metal (crucible and tools).

Ambiguity is a general archetypal theme, typically expressed in emblematic artworks (as in Babylonian, Indus and Egyptian seals), and by esoteric minimalist artists. Recent revelations that Indus seals function as rebus logos for metallurgy suppliers and traders (http://bharatkalyan97.blogspot.com) deserve more study to examine how some writing conventions came to be used with double meanings. Below is a structuralist anthropology analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019), noting its structuralist deficiencies, mainly for replacing eyes by other focal points.

Structuralist archetype model analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019). Minimalist artworks often use items as characters.

 

Type Label; Character (archetypal features):

2 Builder; Hourglass nail on the building (tower); time as accomplisher (build) and unraveller (ruin). NO EYE.

2c Basket; Scales pan B (instrument, container, arm-link or pivot-link).

3 Queen; Scales pivot (more typical of 10 opposite 3). NO EYE.

4 King; Sun (sun). And cherub sitting (squat). He also has polar functions (see 4p and Midwinter below).

5a Priest; Bat (reptile, winged, hyperactive) with banner (sash) and tail (tailcoat head), under rainbow (colours).

5c Basket Tail; Crucible (container). And cube with tetrahedron removed. Hammer. Dog tail (tail). And lamp?

6 Exile; Dog as lamb of God (sacrifice), curled ( U-shape). Canid is more typical of 14 opposite.

7 Child; Tongs rivet ‘eye’ (eyeless). The shape is more typical of 8.

7g Gal.Centre; Planer (juncture). And saw (juncture).Mallet or inkpad? (juncture). And foot (path).

9 Healer; Divider point A (bent ‘forward’, implied disc) of steel (metal). NO EYE.

9c Basket Lid; Purse (‘lid’, reveal).

10 Teacher; Divider point B (metal, ‘arms’, ‘staff’, implied ‘disc’).

11 Womb; Woman’s midriff (womb) or Science (gestation of knowledge).

12 Heart; Woman’s chest (heart).

13c Basket Head; Woman’s head (head) with wreath (weave, tree, hat), of Science (oracle).

14 Mixer; Woman as Temperance (time, angel) or Alchemy (transform) or the vice Melancholy (passing time); near the centre (ingress).

15 Maker; Bell attachment (churn?) with a rope (rope).

15g Gate: Magic square (grid) of 34. A grid is more usual between 15 and 1, here displaced to between 14 and 15.

 

22 Axial centre; Unmarked as usual.

4p Gal.S.Pole; Boy angel’s jaw (limb joint).

11p Gal.Pole; Woman’s hip (limb joint). More often inside the outline of types.

Midsummer (cp); Woman’s jaw (limb joint).

Midwinter (csp); Boy angel’s heel (limb joint).

The solstice axle is near the horizontal plane. These markers place midsummer in types analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre, expressing the central themes of time and balance. The time-frame is before the work, as usual. A Taurid time-frame is typical of alchemical works.

The analysis score is 25/68 archetypal features; 6/16 axial eye points; 13/4 c-type sector features; 4/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 6/2 general themes; thus 59/100, minus 0 extra characters off the axial grid; total 59%, close to the general average of 60%. Some excessive scores reveal that the current formula is adequate only if the indicated ‘maxima’ are ignored; and if excesses are considered as compensation for the impossibility of full scores in other structuralist layers. Thus the current analysis scoring formula requires further refinement.

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

Categories
Mindprint in ayahuasca art

Archetypal structure or mindprint in ayahuasca art

Here are some examples of the standard mindprint typology, sequence, and axial structure, in ayahuasca art, or artworks styled after ayahuasca visions; compared to five Lapp shamanic drums.

An Age Aquarius world skambha

Pablo Amaringo; Spinning dome. Mindprint labels and axial grid by Edmond Furter.

Pablo Amaringo; Spinning dome (after http://www.grahamhancock.com. Mindprint labels and axial grid by Edmond Furter, updated 2019). A dome with geometric texture and various colours, indicates entry to visionary hyperspace, typical of oto-visual emissions by the visual cortex and other brain functions, if stimulated by certain practices or chemicals. All experience is indirect, via senses, nervous system, and the brain, thus internal experience seems as real as conventional ‘reality’. Some oto-visuals and sensations agree with archetypal features that artists in all places and times, subconsciously express in complex artworks.

Type Label; Character (archetypal features):

1 Builder; Water angel D (twist, bird, spring, rain, cluster).

2 Builder; Water angel C (twist, bird, spring, rain, cluster).

2c Basket; Crowd (cluster) on the cliff at left.

3 Queen; Water angel B as rain (queen?, spring, pool).

3 QueenB; Rain? Dragon?

4 King; Water angel A as cloud.

5a Priest; Ritualist B (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).

5b Priest; Ritualist C (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).

5c Basket Tail; Feather B (weave, tail). And sunburst (disc).

6 Exile; Ritualist D. And angel B on a vine trunk (tree), far out (egress).

7 Child; Water angel E as cloud (bag, unfold).

7g Gal.Centre; Water angel F at waterfall (water).

8 Healer; Hermit? under waterfall (heal, trance).

9 Healer; Waterfall head (bent forward?, heal, trance).

9c Basket Lid; Crowd on plain at vine trunk (pillar, snake) of angel B (leglink).

10 Teacher; Crowd member far right (council, ecology, school).

11 Womb; Crowd woman’s midriff (womb).

12 Heart; Man in green spinning a dome (rounded). And his chest (heart). And man in blue. And his chest (heart).

13 Heart; Levitator’s chest (heart), over dome (rounded), over a roof (‘invert’, angel). And dome (rounded, interior).

13c Basket Head; Spinning dome (oracle, hat, lid, weave). And ayahuasca pot (tree, oracle). And person D at broken pots (death, of 13).

14 Mixer; Person C, further out (egress).

15 Maker; Person B, with A (doubled).

15g Gal.Gate; Person A.

Axial centre; Wrist grip (limb joints).

04p Gal.S.Pole; Ritualist A’s jaw (limb joint).

11p Gal.Pole; Crowd woman’s hand? (limb joint).

Cel. Pole or Midsummer; Levitator’s jaw (limb joint). Cel. South Pole or Midwinter; unmarked. The solstice axle is on the vertical plane, confirming midsummer in 13-14, analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. But the top central position of types 5, analogous to Aquarius, and the general themes of types 5v13, indicate that the time-frame may not express the spring point as usual, but the Age Aquarius midsummer point, which is in Taurus. This subtle iconographic ‘slippage’ may indicate that the usual Taurean time-frame of works themed on transformation and alchemy, may in future be moved to an Aquarian time-frame.

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

General themes in Pablo Amaringo’s cosmic vision of a spinning dome, many-coloured cover, or skambha, are indicated by extra features of type 5 Priest, typical of colours, priests, hyper-activity, tailcoats or sashes (here feathers), assembly (here rituals, and crowds), water (here waterfalls and pots), reptile (here serpentine forms), winged (here angels); and of the opposite type 13 Heart, typical of death (here broken pots on the left), rounded (here the top, and pots), waterwork (here waterfalls), and angel (here angels, and feathered priests). Icelandic cosmology myth used similar icons in epic poetry (De Santillana 1969).

Type 13 Heart or Leo is levitating in the lotus position, a feature more usual at its opposite, 5b Priest or Aquarius. Icelandic myths of a ‘many-coloured cover’ and salt mill (reviewed by De Santillana and Von Deschend in Hamlet’s mill), here churn in dayglow colours. The equator of eyes forms an outline of butterfly wings, incidental with the theme of transformation and flickering motion.

Symmetry in the equator, named ecliptic in this study for convenience, is uncommon in art, and usually subtracts from galactic symmetry, as it does here, as if expression were projected through either one or the other.

UPDATE; See my 2019 May article on how ayahuasca art confirms mindprint, on https://dmttimes.com/blog/2019/5/30/ayahuasca-artists-express-universal-meaning

An Age Aquarius world tree

Lapp cosmology trance drum (archetypal social function labels and axial grid by Edmond Furter).

Type 5b Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Archetypal labels and axial grid by Edmond Furter). The drum cosmogram healing and trance tradition had updated its visions with Christian elements, but the cosmic tree is rooted between 4 King or Pisces, and 5 Priest or Aquarius, as spring now is, in our current axial era.

Here the flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era. The ritual officials are named Juksakka, Sakarakka and Madderakka. Their fish pond or ice fishing hole has an astronomy counterpart in 5 Priest or Aquarius, decan Pegasus, here displaced to the 2c Basket position (see a Roman sarcophagus in Mindprint Chapter 11), the only sequence irregularity in the work. See Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill (De Santillana and Von Deschend; Hamlet’s mill).

Type 10 Teacher or Libra here is a tree or branch, as it is in a South African Amatola work (see Mindprint examples in chapter 5), but branches are more usual at its cardinals, 14 Mixer or Cancer, and at 6 Exile or Capricornus (see Egyptian and Mexican palettes, and the Externsteine carving, in Mindprint examples in chapter 4).

Lapp shamanic drums, Minusinsk variants (cosmology labels and axial grids by Edmond Furter). Each is different, but the structuralist features of character and spatial design are the same as in all culture and eras. The designs are not star maps or calendars, and could not be used as such. Blue ovals indicate one of two curves of limb joints, analogous to the galactic equator. These are unusually symmetrical in these drums, partly due to the round format. Subconscious expression of universal structure is sustained by archetypal inspiration. Each design is equally original, despite some borrowings from other artists, media, and cultures.

This study adopts the principle that there is no limit to what artists, and thus all people, subconsciously know; and that language, art, music and conscious or semi-conscious symbolic codes are all inadequate to fully express human experience. Structuralist analysis now raises about 100 optional features to conscious understanding; of which an average of about 60 (40 to 75) are expressed in complex works.

Individual experience could only partly comprehend nature or archetype. Display of art supports the human need to express, create, celebrate and share inspiration, cast in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, are as adequate or inadequate as any myth or art could be.

Celestial polar markers on a calibrated ladder, as a gauge, tag a series of Ages, up to the hand of the central celebrant and the hand of World man (yet another 5b Priest or Aquarius stand-in) at the Age Aquarius start, perhaps an error due to the offset galactic register (level), or an inspiration of our immanent iconographic future. This is one of very few works in this study probably tagged to Age Aquarius.

Angels pulling spring into Aquarius

Pablo Amaringo; (Ayahuasca hut and vision of angels and tutors). Mindprint labels and grid added by Edmond Furter 2011.
Pablo Amaringo; Ayahuasca hut with vision of angels, tutors and a snake in the field (cosmology labels with archetypal numbers, and axial grid by Edmond Furter 2011).

Type 7g Galactic Centre is expressed centre left, as two globes and a tutelary spirit pointing to a scroll. Parts of the features analogous to the cosmic galactic equators across the sphere (forming a fish shape), are marked by a string of angels in a horizontal S shape, as if figuring half of the one half, then half of the other half, in turn. Their central S-shaped flip section also mark midsummer, and thus celestial polar positions in a gauge from the Leo axis on the vertical plane (thus Age Taurus spring), through Cancer (Age Aries spring), Gemini (Age Pisces spring), to the first Taurus axis on the horizontal plane (Age Aquarius spring, slightly ‘prophetic’ for the work, but typical of ayahuasca visions).

Type 5a Priest or Aquarius is a focal group in the ayahuasca brewing hut, as a spring marker. 12 Heart or Leo is a lion (top centre), taking the place of the usual 1 Builder or Taurus bull of most mindprints and of alchemy of the last 6000 years. 1 Builder or Taurus with its gate and churn, here is a grail (mid right) dragged from 12 Heart or Leo, decan Crater (Grail). The summer sun and celestial poles are also dragged from 12 Heart or Leo, to 1 Builder or Taurus.

Type 8 Healer or Scorpius, formerly an eagle, now acquires the Aquarian angel. 4 King or Pisces is a snake with reared head, formerly of 3 Queen or Aries, adding the smaller cog change of about 30 degrees as the spring equinox is about to move from Pisces into Aquarius. 3 Queen or Aries becomes devoid of cosmic drama, here just six children in a pool (the seventh invisible), a former 2 Builder or Taurus, decan Pleiades icon. The two Amaringo snake paintings in this study express sweeping forthcoming Age Aquarius iconographic adjustments, each artwork using different figures and orientations to do so.

Pablo Amaringo (city and fields). Mindprint labelling and axes added by Edmond Furter 2012.
Pablo Amaringo; City and fields (after http://www.grahamhancock.com. Cosmology labels and axial grid Edmond Furter, 2012).

[Caption to follow….]

See an adjacent post on mindprint in peyote or mescaline art.

Art does not come from drugs, and art does not come from number, myth, decans, zodiacs or any media in particular.

See more examples of how the mindprint list of types, and the irregular axial ocular (eye to eye) grid, are used to raise the subconscious structure of visual expression within reach of conscious understanding; www.edmondfurter.wordpress.com

See an article about mindprint in Ice Age and Gobekli Tepe art, on www.grahamhancock.com under Author of the Month, September 2015.

Order the book Mindprint (Furter, E. 2014) from Lulu.com; 200 illustrations demonstrating the identical visual ‘grammar’ or ‘cultural DNA’, in all the known cultures and eras of the world.

Building sites express the same structure

See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at www.stoneprint.wordpress.com

My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar is innate, and readable in all our works, including building sites.]

Categories
Mindprint in peyote or mescaline art

Mindprint archetypes, sequence, and axial grid in peyote or mescaline art

Peyote or mescaline art is a visual styling that resembles luminous oto-visual emissions, phosphenes, or entoptics. However these artworks also contain the universal subconscious standard structure of visual expression, named mindprint (Furter 2014). Here are some examples, in addition to another post on www.edmondfurter.wordpress.com. And some artworks by Dali, and rock art of aloe ferox laxative, for comparison. Art does not come from drugs, or constellations, or trance (see a discussion below the examples).

A cave of mystery and a Basket Lid

Andy Frasheski; Mariano's Ocean. Mescaline styled art. Mindprint labelling and axial structure by Edmond Furter, 2015.
Andy Frasheski; Mariano’s Ocean. Mescaline styled art. Cosmology labels and axial grid added by E Furter, 2015.

 

 

The types are marked by the standard set of numbers, and their cosmology counterparts; and by the standard subconscious axial grid between their eyes (with the two standard exceptions to the 12/13 Leo heart, and the 11 Virgo womb).

A NOTE ON TYPE LABELS: Illustrations in this post use the initial cosmology labelling format as in the book Mindprint, after analogous constellations, and archetypal numbers, for example Ta2, Ar3, Pi4. Since 2018, archetypal structuralist analysis uses the same numbers, but with generic social functions, for example 2Builder, 3Queen, 4King, etc, to better demonstrate that nature, culture and all media, symbols, icons and meaning itself, express archetype, and not any particular expression or media of archetype. The sky, and the myths we allocate there, also express archetype. Captions in this post note generic as well as cosmic labels.

Type labels; Characters in a Frasheski mescaline-style textile work (noting archetypal features):

02 Builder or Taurus; Wolf (more typical of type 15 adjacent, just preceding 1 /2 in the cycle), twisted (twisted).

02c Basket; Mountain cave (see alchemical, Rosicrucian, and Hopi art in another post).

03 Queen or Aries; Butterfly with ‘eyes’ on long bent feelers (more usually long or bent neck). Next to a bird with a long neck as ‘determinant’.

04 King or Pisces; King (king) or healer?, rectangular (rectangle).

05 Priest or Aquarius; Lumiated maize seed head (NO EYE).

06 Exile or Capricornus; Fish (a rare feature here), near the centre (ingress), wet tail (decan Capricornus tail).

07 Child or Sagittarius; Juvenile (child) animal.

09 Healer or Scorpius; Wolf (canid), bent tail.

09c Basket Lid; Chest or altar or basket (container, secret).

10 Teacher or Libra; V-posture (arms up).

11 Womb or Virgo; Octopus abdomen (womb).

13 Heart or Leo; Wolf-man, and a rosette centre (interior, concentric).

14 Mixer or Cancer; Wolf (small canid or felid). Decan Lynx is shared with type 15.

15 Maker or Gemini; Wolf (canid).

Numbering of the labels is necessary because some artworks split each of the four ‘large’ types into two (1 /2 Builder or Taurus, v 8/9 Healer or Scorpius; 5a/5b Priest or Aquarius, v 12/13 Heart or Leo. The number 5 is repeated, since archetypal numbers follow octal base9, not decimal base9. The next magnitude level of archetype resolves 5a:20 and 5b:21. This artwork expresses only one each of the four ‘beasts’, thus the 1v8 and 5a,v12 axes are in ‘reserve’, just as some genetic material is ‘recessive’.

Compare the subconscious mindprint in this artwork with some subconscious mindprints in other art and rock art works, posted on www.edmondfurter.wordpress.com.

The range of recurrent features, their sequence, their individual average frequencies, the axial grid between eyes, and the polar structure, is the subconscious standard of cultural expression, indicating archetype itself, which could be known only through its expressions, as Plato explained in his Cave analogy (Furter 2014; Mindprint.)

See the structure in some ayahuasca art by Pablo Amaringo, with the invariable mindprints marked out, in Furter 2014; Mindprint (Lulu.com). There are three or four examples in similar ‘dayglow’ styling, among the 200 illustrations from every known culture, in the book. Some Ice Age, Gobekli Tepe, Renaissance, rock art, and modern examples are in my papers in the anthropology journal Expression, and in two articles on http://www.Grahamhancock.com (one under Author of the Month, the other on the stoneprints in the Rennes le Chateau landscape),

Dali as Angel of Time

Michael Yaconco; pseudo Dali. Mindprint labelling and axial ocular grid by Edmond Furter 2015.
Michael Yaconco; pseudo-Dali surrealist vision of a mountain. Cosmology labels and axial ocular grid by Edmond Furter 2015.

 

 

The types are subconsciously expressed by optional features, and by the axial grid between their eyes (with two standard exceptions, to the 11 Womb or Virgo, and 12/13 Heart or Leo), in their standard sequence, here in the seasonal direction instead of the numerical or hours direction. Artists subconsciously use either direction.

Type label; Character (noting archetypal features);

01 Builder or Taurus; Hero twisted (twisted), sometimes a female ‘Perseus’ or gorgon.

03 Queen or Aries; Banner (see Agnus Dei banners, a rare feature globally), on a foot (NO EYE, or displaced to the long-necked giraffe at 10 opposite).

04 King or Pisces; Brown pigeon.

05a Priest or Aquarius; Blue (varicoloured) pigeon (angel).

05b Priest or Aquarius; Spider, colourful (varicoloured).

06 Exile or Capricornus; Needle point or ‘eye’ (NO EYE).

07 Child or Sagittarius; Fly (unfolding?).

09 Healer or Scorpius; Giant (large) bug (healer?).

10 Teacher or Libra; Bee, wings in V-posture (arms up). And giraffe with eyes on ears in V-posture (arms up).

11 Womb or Virgo; Abdomen (womb) of headless woman in bowl.

12 Heart or Leo as a monkey, and decapitated head (invert).

13 Heart or Leo; Ball or chest (heart).

14 Mixer or Cancer; Salvador Dali on a flowing clock face (time. See Tarot trump 14, Temperance).

15 Maker or Gemini; Skull (skull) or white face (face), its body holding a syringe as a mace (mace). And a monkey twisted (twisted).

Axial centre; Unmarked as usual, on the absent hand of the statue.

11p Galactic pole; Monkey hand (limb joint).

4p Galactic south pole; Statue hip (limb joint).

Midsummer; Unmarked.

Midwinter; Rock ‘limb joint’.

The vertical plane confirms these polar triangles (marked in black lines), placings midsummer between axes 14-15 or Cancer-Gemini, thus spring and the time-frame in Age Aries-Pisces, typical of religious art of the last 2100 years. Aries itself is not expressed, unusually, perhaps displaced to the syringe as a kind of cross (sacrifice).

Compare the subconscious mindprint in this pseudo-Dali styling, with some more Dali paintings on www.edmondfurter.wordpress.com and with other artworks and rock art works. The range of frequent features, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)

Salvador Dali; (Obelisk on elephant, as of the Bernini fountain). Mindprint labels and axial grid between eyes added by Edmond Furter, 2015.
Salvador Dali; (Obelisk on elephant, as of the Bernini fountain). Cosmology labels and axial grid between eyes by E Furter, 2015.

 

 

[….. All the standard types are expressed, by some of the optional features of the types; in their usual peripheral sequence; on the usual ocular axial grid; with the usual polar structure.]

When typological features in any random collection of 50 or more artworks are added up and converted to percentages, they conform to percentages as listed in the book, Mindprint, and in Stonerpint, and expanded and updated in 2019 editions of Stoneprint Journal. Thus even the frequencies of the most common options (such as 9 Healer or Scorpius bent forward, 11 Womb or Virgo womb, 15 Maker or Gemini rope, or impact weapon,  12 /13 Heart or Leo heart, or felid; and many more), are predictable in collections of artworks within the reach of manual statistics.

The three layers of visual structure are too complex for artists to express consciously. No trace of recognition of the structure of culture could be found prior to publication of the book Mindprint in 2014 (demonstrating 200 expressions in illustrations, and listing 400 in the index). Peyote art, mescaline art, rock art, ‘fine’ or academic art, and political art, of every culture, continent and region, contain the same structure, hidden in plain sight, invisible until demonstrated by a pencil, a ruler, and a list of about 100 inter-dependent features. Most complex artworks, even by novice artists, express about 60 of the currently known features.

Salvador Dali; Spain (Ampurdan Plain). Mindprint labelling and axial ocular grid added by Edmond Furter, 2013.
Salvador Dali; Spain (Ampurdan Plain). Cosmology labels and axial ocular grid by E Furter, 2013. The pink line traces an oval of limb joints, analogous to one of the two interlinked galactic equators. Artworks are not star maps, cosmograms or calendars. All natural and cultural media are inspired by archetype, which includes three planes of space and time.

 

An ark and covenant mother

Type 11 Womb or Virgo as the womb of a polar woman, her navel expressing type 11p Galactic Pole (Salvador Dali; Spain, or Ampurdan Plain. Typolgoy labels and axial grid by E Furter). Characters seem to emerge from a chest of drawers in the 9c Basket Lid (container, revelation) sector, inverting the ark theme where figures enter a box, typical of the 2c or Basket sector. The Spain woman’s rectangular chest or drawers echoes the opposite buildings on a dusty street, above sector 5c or Basket Tail, near type 5 Priest or Aquarius and 4 King or Pisces (often recttangular), analogous to decan Pegasus (which is often a horse, pond or field grid). Here Spain’s Ampurdan plain is gridded by field lines (top left).

Plains are always more alive than meet the eye. Type 10 Teacher or Libra is a see-saw rider, the concept of balance as turner of the wheel of life, doubling as nipples on the transparent breasts that overlay the landscape as the body of the beloved land.

A celestial pole on a rider’s hand tag the inspiration as Age Taurus-Aries, incidental with the conscious theme of passing events and evaporated time.

Balance of nature and culture

USA Utah rock engraving, sometimes named Newspaper Rock, ambiguous with another engraving of the same nickname (James Q Jacobs). Mindprint labels and ocular axes are added by Edmond Furter. The semi-geometric figures are probalby not proto-letters, nor do they function as conventionalised pictograms.
USA Utah rock engraving, sometimes named Newspaper Rock, ambiguous with another engraving of the same nickname (James Q Jacobs). Cosmology labels and ocular axial grid by E Furter. The semi-geometric figures are not proto-letters, nor do they function as conventionalised pictograms.
Astral Buffalo Myztico; (balance of nature and culture). Mindprint labelling and ocular axial grid added by Edmond Furter.
Astral Buffalo Myztico; (balance of nature and culture). Cosmology labels and ocular axial grid by Edmond Furter.

 

 

 

Eyes of the types are on the usual subconcsious axial grid, with the usual two exceptions to the 11 Womb or Virgo, and 12/13 Heart or Leo; in their standard sequence.

Type label; Characters in a Myztico work (noting archetypal features):

01 Builder or Taurus; Animal, twisted? tail, near a rainmaker?

03 Queen or Aries; Goat (more usually ovid).

04 King or Pisces; Eye.

04 King or PiscesB; Rectangular (rectangle), squatting (squat). Doubling of type 4 is unusual.

04p Gal.S.Pole; Hip (limb joint) and a small figure’s foot (limb joint). 

05a Priest or Aquarius; Rectangular (of 4, or here as decan Pegaus).

05b Priest or Aquarius; Coloured (varicoloured) water beast (water, horizontal).

06 Exile or Capricornus; Bag on rope (displaced from 7), wet tail (decan Capriconus tail knot, of 5c).

07 Child or Sagittarius; Rope (rope) over bag (bag).

08 Healer or Scorpius; Leaning (bent?), large (large).

09c Basket Lid; Cross (more often a disc, here displaced to type 8).

10 Teacher or Libra; Teacher (school), arms in W-posture (arms up), staff (staff), nature-culture (balance).

11 Womb or Virgo B; Geometric figure’s abdomen (womb). Doubling of this type is unusual but not unique. See several type 11 aces in London, in Stoneprint Journal 4).

11 Womb or Virgo; Animal skin with abdomen mark (womb).

11p Galactic Pole; A head-staff (juncture or limb-joint).

12 Heart or Leo; Wolf (more usually felid), decapitated (invert), spiked.

13 Heart or Leo; Man hyperactive (of 5 opposite).

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

15 Maker or Gemini; With a rope (rope), two-headed (doubled), near his double (doubled).

Axal centre; Limb joint?

Midsummer; Footprint (juncture or ‘limb-joint’), near the vertical plane (orientation) of some of the pseudo rock art characters. These markers place ‘midsummer’ between axes 12-13 or Leo12-Leo13, thus ‘spring’ and the cultural framework in Age Taurus1-2, typical of alchemical art in all ages.

Compare this subconscious mindprint, with the subconscious mindprint in the large rock art engraving panel from which some of the semi-geometric figures are copied (above the peyote artworks, and in more detail on www.edmondfurter.wordpress.com), and with a subconscious Chinese Tien Shan range rock art engraving (adjacent to the American engraving on that web page, and in the book). The range of frequent attributes, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)

All art is art

Mescaline styling is recognisable in some rock art loosely labelled ‘trance art’. The style is named ‘pseudo’ rock art if the artist copies a recognisable rock art styling. There should be no distinction between ‘taught /untaught’, or trance /conceptual, or ‘own /borrowed’ culture, styling or media, since all art is art. It is impossible to ‘fake’ structural expression, and thus it is a kind of hallmark of inspiration.

Merry Christmas and a happy Age Aquarius

Bannon; (Californian rock art copy or styling, 2006). Mindprint labels and ocular axes added by Edmond Furter 2014.
Bannon; (Californian rock art copy or styling, 2006). Cosmology labels and ocular axial grid by E Furter 2014.

 

 

In 2014 I found Bannon’s retro-styled artwork and made a Christmas card of it. The usual structuralist analysis demonstrates the standard but subconscious mindprint typology sequence, and the usual lines to reveal the ocular (eye to eye) axial grid, and ‘polar’ triangles. Whether the work is a copy of a rock art panel, or a modern work, is immaterial to archetypal expression. This artwork was one of many tested after the book Mindprint, that confirmed that the structure applies to all artworks, of all cultures, and predicts the core content of newly found ancient works, as well as future artworks.

I emailed the analysis to some archaeologists, anthropologist, artists, and drumming circle members, and received mixed responses. Most people are still not consciously aware of the role of archetypes in nature, perception, or behaviour. Popular culture and sciences, even anthropology and psychology, have a blind spot, or layers of blind blots, for archetypes.

Type 15 Maker or Gemini  as two Rope People (rope), resemble a trio of type 15 character in a South African San (Bushman) rock art panel, nicknamed ‘Vapour trails’, where their ‘sky ropes’ (a recognised archaeological term) are attached to the back of their spines (see Tarot trump 15 versions with two souls roped to a worldly creator or daemon, usually unnamed, or labelled ‘Devil’.)

Tribeways drumming circle uses mescaline art in its advertising, which I added to the growing number of analyses, in further proof that all cultures and styles speak a collective visual language.

Uncited peyote-styled artwork from a Tribeways drumming circle social media site. Mindprint labelling added by Edmond Furter 2014.
Uncited peyote-styled artwork from a Tribeways drumming circle social media site. Cosmology labels and axial grid by E Furter 2014.

 

Uncited peyote-styled artwork from a Tribesway drumming circle social media site, with the mindprint axial grid identified (Furter 2014). Many attributes reveal the typology, here unlabelled to offer a practical challenge to visitors on this site. To complete the labelling, just add the standard type names and/or numbers to the axial points near the periphery, and the standard polar labels to the red triangle points in the centre. All complex artworks contain this triple-layerd structure.
Uncited peyote-styled artwork (after a Tribesway drumming circle social media site, with mindprint axial grid  by E Furter 2014). Many features reveal the typology, here unlabelled to offer a practical exercise to visitors. Add the archetypal labels to the axial points near the periphery, and the standard polar labels to the red triangle points near the centre. All complex artworks contain this layered structure.

 

Clues; Type 3 Queen or Aries has a long or bent neck in 42% of artworks;

Type 15 Maker or Gemini has or is a rope (33%) or bag (21%), or both. Its ‘magnitude’ is type 0 (zero), corresponding to Tarot trump zero, Fool with a bag;

Type 13 Heart or Leo is on a heart (85%);

Type 11 Womb or Virgo is on a womb (87%);

Type 7 Child or Sagittarius is a bag (25%), sometimes with a rope, and/or juvenile;

Type 4 King or Pisces is sometimes a sun. Its higher magnitude is 4:19, as in the number of Tarot trump 19, Sun.

Structuralist anthropology and iconography research reported in Mindprint, and Stoneprint Journal, incidentally revealed details of the cosmological division of ecliptic (constellation) divisions, that allowed a calculation of the date of the Age Pisces to Age Aquarius transition, by the exact positions of the four seasonal points and the exact borders of archetypal constellations. That date is 2016, when the spring-autumn points were on two Pegasus stars and the Cetus spout; and solstice points were on the galactic gates (Furter 2014; Mindprint. Lulu.com). However artists are not consciously aware that some of the secondary or incidental detail in the holographic structure that anchors their visual expression, also expresses a cosmic and precessional temporal framework. This clock of ages could not be used to date artworks, since most artists express inspiration framed by the previous age, or one of the previous ages, of varying length, during which precession moved at slower rates (see a post on http://www.stoneprintjournal.blog for a discussion of the problems inherent in assumptions of precessional metrics, obliquity, and the Newcombe curve).

Marsha Walker; Where spirit meets goddess. Mindprint labelling and axes added by Edmond Furter 2015.

Marsha Walker; Where spirit meets goddess. Cosmology labels and axial grid by E Furter 2015.

Type label; Character (archetypal features):

01 Builder or Taurus; Swallow or swift-person (bird, swift-person).

02 Builder or Taurus; ? and ? (cluster. Their opposites at 9 are also indistinct).

03 Queen or Aries; Long-necked animal icon (long neck), topping a mask.

04 King or Pisces; Large mask (more typical of 15).

04p Gal.S.Pole; Mask jaw (limb joint, a frequent polar marker).

05a Priest or Aquarius; Chest (heart, of 12 opposite) of a priest (priest).

05b Priest or Aquarius; Chest (heart) of a geometric character.

06 Exile or Capricornus; Coyote? (more often caprid), near the centre (ingress).

07 Child or Sagittarius; Snake skin (bag), NO EYE, but lack of an eye is not penalised at type 7, since it is often a bag.

7g Galactic Centre; Palm-tree top (juncture).

08 Healer or Scorpius; Hut.

09 Healer or Scorpius; ? and ? (their opposites at 2 are also indistinct).

10 Teacher or Libra; Central character’s chest (heart, unusual at type 10). Some elements hint at overwork or re-work of the design, as found in the artworks of William Blake, Poussin, and a few other esoteric artists.

11 Womb or Virgo; Salmon abdomen (womb), swimming upstream to spawn.

11p Galactic Pole; Central woman’s jaw (limb joint, a frequent polar marker).

12 Heart or Leo; American Indian warrior’s chest (heart).

12 Heart or Leo; American Indian warrior (war).

14 Mixer or Cancer; American Indian woman.

15 Maker or Gemini; American Indian person.

15g Gate; Five dots (juncture).

Test your own artwork, or your own art analysis

These ‘peyote’ artworks are from a quick internet search. I downloaded the first six works containing eleven or more characters. They all express the five layers of mindprint structure, with the usual apparent variation and pleasant surprises, while remaining true to archetypal ‘grammar’ or ‘DNA’.

Artworks with less than eleven characters (people, animals, geometric figures, etc), usually express only some of the sixteen types,  and are difficult to prove as typological, since some lack axial opposites, and minimal or ‘sparse’ artworks lack the full and complex context of multiple points of evidence, and axial geometry, to prove subconscious expression of the structure. However mindprint art could be used to reveal archetypal elements in sparse works by any artist, in any culture, since the compulsive inspiration for visual expression, is from the collective subconscious.

Mindprint thus enables conscious appreciation of our surprisingly detailed subconscious access to archetype, which informs nature, as well as perception, and all cultural expressions.

Art does not ‘come from’ drugs

Art is not inspired by any drug, be it peyote cactus, mescaline, ayahuasca, DMT, ‘flight’ mushrooms, cannabis or another plant or compound. These may all semi-artificially promt or sustain natural visions, which may take special skill and practice to remember and to incorporate in an artwork. Art does not come from trance either; most artists are not aware of undergoing trance states. Healers usually art, but most are not artists. Most artists are not healers. Most artists work from imagination, or dreams, or by transforming exposure to other art, scenes, myth, music, ritual, or events.

Visual technique is a gift, as some of the skills needed in ritual, myth-making, healing and other cultural expressions are a gift. Artistic techniques may improve with meditation, practice, and teaching, however conscious efforts improve mainly styling and texture, while the inherent structure and core content of art, and all culture, appears in the complex artwork of most novices and masters alike.

Art does not ‘illustrate astronomy’

Correspondence theorists and archaeo astronomers should note that cultural structure arises from archetype, just as the periodic table of chemistry, or the double helix of bio-chemistry, arises from the inherent structure in nature. Art does not illustrate astrology. Seasons, myths, rituals, icons, and all cultural ‘goods’, express archetypal structure, as a kind of compulsion. None of these expressions precede or ‘teach’ the others.

Compare the subconscious mindprint any style or media of visual artworks, with some subconscious mindprints in other art and rock art, at www.edmondfurter.wordpress.com

The book also reveals that the same structure applies to myth and literature, and demonstrates mindprint in a verse from the Mishnah. However it notes the difficulty of extracting the subtext from a written or recited text, that tends to fluctuate between characters, motivations, typology, and episodes. Visual art unerringly reveals its ‘subtext’ in visible attributes of characters, and their complex spatial relationships.

Built sites express the same structure

See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprintjournal.blog or at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, in several media.

Here are more examples of mindprint in artworks:

Walter Battiss; cosmogram. Mindprint labelling by Edmond Furter 2014. Themes relevant to type t5 t21 Aquarius dominate in the work.
Walter Battiss; cosmogram. Cosmo labels and axial grid by E Furter 2014. Themes relevant to type 5 Priest or Aquarius, dominate in the work.
Salvador Dali; (Academy). Mindprint labelling added by Edmond Furter 2015. Themse relevant to type Gemini t15 dominate. Compare this work with Raffaello Sanzio's School of Athens in the Vatican, which features on the cover of Mindprint (2014), and is discussed among the 200 illustrations in the book.
Salvador Dali; (Academy). Cosmo labels and axial grid by E Furter 2015. Themes relevant to type 15 Maker or Gemini dominate in this work. Compare with Raffaello Sanzio’s School of Athens in the Vatican, which features on the cover of Mindprint (2014), and is discussed among the 200 illustrations in the book.
Walter Battiss; Horseman palimsest. Mindprint labelling added by Edmond Furter 2014.
Walter Battiss; Horseman palimsest. Cosmo labels and axial grid by E Furter 2014.

 

South African Khoe or Amatola rock art of aloe ferox laxative use (Ben-Erik van Wyk. Mindprint labels and axes added by Edmond Furter). Some cacti are also used as a laxative in ritual cleansing in south America.
South African Khoe or Amatola rock art of aloe ferox laxative use (Ben-Erik van Wyk. Cosmology labels and axial grid by E Furter). Some cacti are also used as a laxative in ritual cleansing in south America.
Papua New Guinea Kambot village story board; Brothers Wain episode. Mindprint labelling by Edmond Furter, 2013. Typpology and the axial grid incidentally resolves some of the apparently chaotic and apparently radom aspects of artistic design, particularly in 'ethinic' and 'rock art' works, allowing conscious comprehensioni of the underlying structure. Schooled and learned artists have no advantage over unschooled artists with limited resources.
Papua New Guinea Kambot village story board; Brothers Wain episode. Cosmology labels and axial grid by E Furter 2013. The invisible structure (demonstrated for the first time since 2014) incidentally resolves some of the apparently chaotic and apparently random aspects of artistic design, particularly in ‘ethnic’ and ‘rock art’ works, allowing conscious comprehension of the underlying structure. Schooled and learned artists have no advantage over unschooled artists with limited resources.

 

 

 

Leo Bednarik; Ex libris (book ownership label) of a crayfish meal. Mindprint axial grid added by Edmond Furter 2015. Visitors may add the standard set of midnprint labels to the eyes, to reveal the typology, and the orientation of the temporal framework in the polar area. The same structure is found in cave art, Ice Age art, modern art, and rock art. Artists, art historians, and archaeologists are unaware of expressing and seeing the triple-layered structure, just as people are unaware of grammatical rules while speaking a language.
Leo Bednarik; Ex libris (book ownership label) of a crayfish meal. Axial grid by E Furter 2015. Visitors may add the standard set of midnprint labels to the eyes, to reveal the typology, and the orientation of the temporal framework in the polar area. The same structure is found in cave art, Ice Age art, modern art, and rock art. Artists, art historians, and archaeologists are unaware of expressing and seeing the triple-layered structure, just as people are unaware of grammatical rules while speaking a language.

 

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.