Artist Leo Tanguma’s large mural paintings at Denver Airport are themed on apocalyptic bio-warfare, destruction, and the struggle between Fascist and peaceful world orders. The Denver-based Chicano combines symbolism from history and mysticism, with American socio-political issues from his hybrid perspective, by 1900s Mexican political muralist techniques. This design was said to picture the 2001 9/11 terror attacks, but the airport had opened six years earlier. Archetypal features explain the similarity. One of the general themes in his Extinction artwork is revealed by extra features of type 2 Builder, typical of twisted postures (here of four characters), cluster (of plant and animal species), bird (four species), tower (city in the background), build (or cultures), ruin (fire and pollution), hero (preservation workers), book (Torah in coffin C), or spring (flowers).
Another general theme in Tanguma’s Extinction painting at Denver Airport is revealed by extra features of the four transitional types: 2c Basket v 9c Lid, and 5c Tail v 13c Head. Their fields (transitional types do not have their eyes on the axial grid, but are spaced between specific adjacent axes), are typical of woven texture (here 5c’s textile cloak), containers (glass boxes, coffins, carapace), hats (four headgear), arm-links (cradling animals or figurines), trees (here burning), or revelation (here of environmental extinction). The Denver Extinction of environment, animals and cultures panel, is juxtaposed by two panels on Peace and Harmony With Nature, dramatising bountiful and diverse life. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.
Type Label; Character (noting archetypal features):
2 Builder; Buffalo (bovid) head, stuffed.
2c Basket; Parrot (bird) in glass box (container), held by (arm-link) an African woman. And elephant tusks (weapon, cluster).
3 Queen; Girl with a squirrel.
4 King; Jewish girl in coffin (rectangle) holding Torah including Genesis.
5a Priest; White leopard (varicoloured, felid of 12 opposite), dead (horizontal), left eye.
5b Priest; White leopard (varicoloured, felid of 13 opposite), dead (horizontal), right eye.
5c Basket Tail; American Indian woman in woven cloak (weave) in coffin (container), her head on leaves (herb), with animal (tail) god figurine.
6 Exile; Geometric person image (small) on American Indian woman’s cloak, further from the centre (egress).
Artist Rudy Gutierrez illustrated music album covers for jazz, rock and reggae artists (John Coltrane, Gerald Albright, Roy Hargrove, Pablo Moses). He also painted the Jimi Hendrix 2014 memorial postage stamp, and many book covers. His painting of a guru or music producer with a collage of musicians is typical of his dynamic and multi-sensory, surreal style, sharing many features with ayahuasca and DMT art, such as spirals and vines. Structuralist analysis against the archetype model of universal subconscious expression, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this Gutierrez work.
Gutierrez sees art as therapy, visual art and music as connected, and is anti-drugs, like DK Dyson. He is also an arts academic and teacher. The dominant general theme in the Musicians painting is revealed by extra features of type 10 Teacher, typical of raised arms (here of all ten characters), staff (flower stalks and guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’). Another general theme is the polar triangles, typical of limb-joints (here raised arms, and active postures).
Type Label; Character (noting archetypal features):
2 Builder; John Coltrane (hero) with trumpet (twist).
2c Basket; Geometric (weave) bird. And guru’s ear (maze).
3 Queen; Guru’s left eye.
4 King; Guru’s implied third eye.
5a Priest; Guru’s right eye (‘priest’, hyperactive, assembly), pouring water (water).
5b Priest; Musician?, face frontal, sits on a sunflower.
5c Basket Tail; Two sunflower (weave) heads (plant, disc).
6 Exile; Bryan Adams or Bruce Springsteen, on a rose flower (tree).
7 Child; Whitney Houston points at her palm (unfold), on a throne (chariot?).
9 Healer; Bob Dylan (trance?) leans (bent forward).
9c Basket Lid; Stream (weave, reveal) from guru’s hands.
10 Teacher; Beads? (school?) and heart shadow in guru’s hands (arms-up).
11 Womb; Diana Ross?’s midriff, pregnant (womb) in a flower (crop), in the stream (water).
12 Heart; Diana Ross? In the stream (water-work).
13 Heart; Barbara Streisand’s chest (heart), in a flower.
13c Basket Head; Barbara Streisand. And Sunflower spiral (weave).
14 Mixer; Aretha Franklin, pointing (dance?), in a flower (tree).
15 Maker; Carlos Santana with guitar (sceptre), in flower bud (bag).
15g Gal.Gate; Rose heart (juncture) on chain (rope of 15). And trumpet (juncture).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Unmarked, probably on the vertical plane.
11p Gal.Pole; Barbara Streisand’s hand (limb-joint).
Summer; Rose boy C’s hands (limb-joints), and source of swift birds (limb-joints).
Winter; Angel? (limb-joints) and end of swift birds (limb-joints).
The solstice axle is on the horizontal plane of the axial centre, confirming summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. This ‘era’ is confirmed by the types of the main character’s left eye and implied third eye, in the top central position.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
See articles on, and examples of the archetypal structuralist model analyses, in the book Mindprint, the subconscious art code (2014), and editions of Stoneprint Journal, available on Lulu.com and in bookstores linked to Lulu.
Peyote or mescaline art is a visual styling that resembles luminous oto-visual emissions, phosphenes, or entoptics. However these artworks also contain the universal subconscious standard structure of visual expression, named mindprint (Furter 2014). Here are some examples, in addition to another post on www.edmondfurter.wordpress.com. And some artworks by Dali, and rock art of aloe ferox laxative, for comparison. Art does not come from drugs, or constellations, or trance (see a discussion below the examples).
A cave of mystery and a Basket Lid
The types are marked by the standard set of numbers, and their cosmology counterparts; and by the standard subconscious axial grid between their eyes (with the two standard exceptions to the 12/13 Leo heart, and the 11 Virgo womb).
A NOTE ON TYPE LABELS: Illustrations in this post use the initial cosmology labelling format as in the book Mindprint, after analogous constellations, and archetypal numbers, for example Ta2, Ar3, Pi4. Since 2018, archetypal structuralist analysis uses the same numbers, but with generic social functions, for example 2Builder, 3Queen, 4King, etc, to better demonstrate that nature, culture and all media, symbols, icons and meaning itself, express archetype, and not any particular expression or media of archetype. The sky, and the myths we allocate there, also express archetype. Captions in this post note generic as well as cosmic labels.
Type labels; Characters in a Frasheski mescaline-style textile work (noting archetypal features):
02 Builder or Taurus; Wolf (more typical of type 15 adjacent, just preceding 1 /2 in the cycle), twisted (twisted).
02c Basket; Mountain cave (see alchemical, Rosicrucian, and Hopi art in another post).
03 Queen or Aries; Butterfly with ‘eyes’ on long bent feelers (more usually long or bent neck). Next to a bird with a long neck as ‘determinant’.
04 King or Pisces; King (king) or healer?, rectangular (rectangle).
05 Priest or Aquarius; Lumiated maize seed head (NO EYE).
06 Exile or Capricornus; Fish (a rare feature here), near the centre (ingress), wet tail (decan Capricornus tail).
07 Child or Sagittarius; Juvenile (child) animal.
09 Healer or Scorpius; Wolf (canid), bent tail.
09c Basket Lid; Chest or altar or basket (container, secret).
10 Teacher or Libra; V-posture (arms up).
11 Womb or Virgo; Octopus abdomen (womb).
13 Heart or Leo; Wolf-man, and a rosette centre (interior, concentric).
14 Mixer or Cancer; Wolf (small canid or felid). Decan Lynx is shared with type 15.
15 Maker or Gemini; Wolf (canid).
Numbering of the labels is necessary because some artworks split each of the four ‘large’ types into two (1 /2 Builder or Taurus, v 8/9 Healer or Scorpius; 5a/5b Priest or Aquarius, v 12/13 Heart or Leo. The number 5 is repeated, since archetypal numbers follow octal base9, not decimal base9. The next magnitude level of archetype resolves 5a:20 and 5b:21. This artwork expresses only one each of the four ‘beasts’, thus the 1v8 and 5a,v12 axes are in ‘reserve’, just as some genetic material is ‘recessive’.
Compare the subconscious mindprint in this artwork with some subconscious mindprints in other art and rock art works, posted on www.edmondfurter.wordpress.com.
The range of recurrent features, their sequence, their individual average frequencies, the axial grid between eyes, and the polar structure, is the subconscious standard of cultural expression, indicating archetype itself, which could be known only through its expressions, as Plato explained in his Cave analogy (Furter 2014; Mindprint.)
See the structure in some ayahuasca art by Pablo Amaringo, with the invariable mindprints marked out, in Furter 2014; Mindprint (Lulu.com). There are three or four examples in similar ‘dayglow’ styling, among the 200 illustrations from every known culture, in the book. Some Ice Age, Gobekli Tepe, Renaissance, rock art, and modern examples are in my papers in the anthropology journal Expression, and in two articles on http://www.Grahamhancock.com (one under Author of the Month, the other on the stoneprints in the Rennes le Chateau landscape),
Dali as Angel of Time
The types are subconsciously expressed by optional features, and by the axial grid between their eyes (with two standard exceptions, to the 11 Womb or Virgo, and 12/13 Heart or Leo), in their standard sequence, here in the seasonal direction instead of the numerical or hours direction. Artists subconsciously use either direction.
Type label; Character (noting archetypal features);
01 Builder or Taurus; Hero twisted (twisted), sometimes a female ‘Perseus’ or gorgon.
03 Queen or Aries; Banner (see Agnus Dei banners, a rare feature globally), on a foot (NO EYE, or displaced to the long-necked giraffe at 10 opposite).
04 King or Pisces; Brown pigeon.
05a Priest or Aquarius; Blue (varicoloured) pigeon (angel).
05b Priest or Aquarius; Spider, colourful (varicoloured).
06 Exile or Capricornus; Needle point or ‘eye’ (NO EYE).
07 Child or Sagittarius; Fly (unfolding?).
09 Healer or Scorpius; Giant (large) bug (healer?).
10 Teacher or Libra; Bee, wings in V-posture (arms up). And giraffe with eyes on ears in V-posture (arms up).
11 Womb or Virgo; Abdomen (womb) of headless woman in bowl.
12 Heart or Leo as a monkey, and decapitated head (invert).
13 Heart or Leo; Ball or chest (heart).
14 Mixer or Cancer; Salvador Dali on a flowing clock face (time. See Tarot trump 14, Temperance).
15 Maker or Gemini; Skull (skull) or white face (face), its body holding a syringe as a mace (mace). And a monkey twisted (twisted).
Axial centre; Unmarked as usual, on the absent hand of the statue.
11p Galactic pole; Monkey hand (limb joint).
4p Galactic south pole; Statue hip (limb joint).
Midwinter; Rock ‘limb joint’.
The vertical plane confirms these polar triangles (marked in black lines), placings midsummer between axes 14-15 or Cancer-Gemini, thus spring and the time-frame in Age Aries-Pisces, typical of religious art of the last 2100 years. Aries itself is not expressed, unusually, perhaps displaced to the syringe as a kind of cross (sacrifice).
Compare the subconscious mindprint in this pseudo-Dali styling, with some more Dali paintings on www.edmondfurter.wordpress.com and with other artworks and rock art works. The range of frequent features, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
[….. All the standard types are expressed, by some of the optional features of the types; in their usual peripheral sequence; on the usual ocular axial grid; with the usual polar structure.]
When typological features in any random collection of 50 or more artworks are added up and converted to percentages, they conform to percentages as listed in the book, Mindprint, and in Stonerpint, and expanded and updated in 2019 editions of Stoneprint Journal. Thus even the frequencies of the most common options (such as 9 Healer or Scorpius bent forward, 11 Womb or Virgo womb, 15 Maker or Gemini rope, or impact weapon, 12 /13 Heart or Leo heart, or felid; and many more), are predictable in collections of artworks within the reach of manual statistics.
The three layers of visual structure are too complex for artists to express consciously. No trace of recognition of the structure of culture could be found prior to publication of the book Mindprint in 2014 (demonstrating 200 expressions in illustrations, and listing 400 in the index). Peyote art, mescaline art, rock art, ‘fine’ or academic art, and political art, of every culture, continent and region, contain the same structure, hidden in plain sight, invisible until demonstrated by a pencil, a ruler, and a list of about 100 inter-dependent features. Most complex artworks, even by novice artists, express about 60 of the currently known features.
An ark and covenant mother
Type 11 Womb or Virgo as the womb of a polar woman, her navel expressing type 11p Galactic Pole (Salvador Dali; Spain, or Ampurdan Plain. Typolgoy labels and axial grid by E Furter). Characters seem to emerge from a chest of drawers in the 9c Basket Lid (container, revelation) sector, inverting the ark theme where figures enter a box, typical of the 2c or Basket sector. The Spain woman’s rectangular chest or drawers echoes the opposite buildings on a dusty street, above sector 5c or Basket Tail, near type 5 Priest or Aquarius and 4 King or Pisces (often recttangular), analogous to decan Pegasus (which is often a horse, pond or field grid). Here Spain’s Ampurdan plain is gridded by field lines (top left).
Plains are always more alive than meet the eye. Type 10 Teacher or Libra is a see-saw rider, the concept of balance as turner of the wheel of life, doubling as nipples on the transparent breasts that overlay the landscape as the body of the beloved land.
A celestial pole on a rider’s hand tag the inspiration as Age Taurus-Aries, incidental with the conscious theme of passing events and evaporated time.
Balance of nature and culture
Eyes of the types are on the usual subconcsious axial grid, with the usual two exceptions to the 11 Womb or Virgo, and 12/13 Heart or Leo; in their standard sequence.
Type label; Characters in a Myztico work (noting archetypal features):
01 Builder or Taurus; Animal, twisted? tail, near a rainmaker?
03 Queen or Aries; Goat (more usually ovid).
04 King or Pisces; Eye.
04 King or PiscesB; Rectangular (rectangle), squatting (squat). Doubling of type 4 is unusual.
04p Gal.S.Pole; Hip (limb joint) and a small figure’s foot (limb joint).
05a Priest or Aquarius; Rectangular (of 4, or here as decan Pegaus).
05b Priest or Aquarius; Coloured (varicoloured) water beast (water, horizontal).
06 Exile or Capricornus; Bag on rope (displaced from 7), wet tail (decan Capriconus tail knot, of 5c).
07 Child or Sagittarius; Rope (rope) over bag (bag).
08 Healer or Scorpius; Leaning (bent?), large (large).
09c Basket Lid; Cross (more often a disc, here displaced to type 8).
10 Teacher or Libra; Teacher (school), arms in W-posture (arms up), staff (staff), nature-culture (balance).
11 Womb or Virgo B; Geometric figure’s abdomen (womb). Doubling of this type is unusual but not unique. See several type 11 aces in London, in Stoneprint Journal 4).
11 Womb or Virgo; Animal skin with abdomen mark (womb).
11p Galactic Pole; A head-staff (juncture or limb-joint).
12 Heart or Leo; Wolf (more usually felid), decapitated (invert), spiked.
13 Heart or Leo; Man hyperactive (of 5 opposite).
14 Mixer or Cancer; near the centre (ingress), small (small).
15 Maker or Gemini; With a rope (rope), two-headed (doubled), near his double (doubled).
Axal centre; Limb joint?
Midsummer; Footprint (juncture or ‘limb-joint’), near the vertical plane (orientation) of some of the pseudo rock art characters. These markers place ‘midsummer’ between axes 12-13 or Leo12-Leo13, thus ‘spring’ and the cultural framework in Age Taurus1-2, typical of alchemical art in all ages.
Compare this subconscious mindprint, with the subconscious mindprint in the large rock art engraving panel from which some of the semi-geometric figures are copied (above the peyote artworks, and in more detail on www.edmondfurter.wordpress.com), and with a subconscious Chinese Tien Shan range rock art engraving (adjacent to the American engraving on that web page, and in the book). The range of frequent attributes, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
All art is art
Mescaline styling is recognisable in some rock art loosely labelled ‘trance art’. The style is named ‘pseudo’ rock art if the artist copies a recognisable rock art styling. There should be no distinction between ‘taught /untaught’, or trance /conceptual, or ‘own /borrowed’ culture, styling or media, since all art is art. It is impossible to ‘fake’ structural expression, and thus it is a kind of hallmark of inspiration.
Merry Christmas and a happy Age Aquarius
In 2014 I found Bannon’s retro-styled artwork and made a Christmas card of it. The usual structuralist analysis demonstrates the standard but subconscious mindprint typology sequence, and the usual lines to reveal the ocular (eye to eye) axial grid, and ‘polar’ triangles. Whether the work is a copy of a rock art panel, or a modern work, is immaterial to archetypal expression. This artwork was one of many tested after the book Mindprint, that confirmed that the structure applies to all artworks, of all cultures, and predicts the core content of newly found ancient works, as well as future artworks.
I emailed the analysis to some archaeologists, anthropologist, artists, and drumming circle members, and received mixed responses. Most people are still not consciously aware of the role of archetypes in nature, perception, or behaviour. Popular culture and sciences, even anthropology and psychology, have a blind spot, or layers of blind blots, for archetypes.
Type 15 Maker or Gemini as two Rope People (rope), resemble a trio of type 15 character in a South African San (Bushman) rock art panel, nicknamed ‘Vapour trails’, where their ‘sky ropes’ (a recognised archaeological term) are attached to the back of their spines (see Tarot trump 15 versions with two souls roped to a worldly creator or daemon, usually unnamed, or labelled ‘Devil’.)
Tribeways drumming circle uses mescaline art in its advertising, which I added to the growing number of analyses, in further proof that all cultures and styles speak a collective visual language.
Clues; Type 3 Queen or Aries has a long or bent neck in 42% of artworks;
Type 15 Maker or Gemini has or is a rope (33%) or bag (21%), or both. Its ‘magnitude’ is type 0 (zero), corresponding to Tarot trump zero, Fool with a bag;
Type 13 Heart or Leo is on a heart (85%);
Type 11 Womb or Virgo is on a womb (87%);
Type 7 Child or Sagittarius is a bag (25%), sometimes with a rope, and/or juvenile;
Type 4 King or Pisces is sometimes a sun. Its higher magnitude is 4:19, as in the number of Tarot trump 19, Sun.
Structuralist anthropology and iconography research reported in Mindprint, and Stoneprint Journal, incidentally revealed details of the cosmological division of ecliptic (constellation) divisions, that allowed a calculation of the date of the Age Pisces to Age Aquarius transition, by the exact positions of the four seasonal points and the exact borders of archetypal constellations. That date is 2016, when the spring-autumn points were on two Pegasus stars and the Cetus spout; and solstice points were on the galactic gates (Furter 2014; Mindprint. Lulu.com). However artists are not consciously aware that some of the secondary or incidental detail in the holographic structure that anchors their visual expression, also expresses a cosmic and precessional temporal framework. This clock of ages could not be used to date artworks, since most artists express inspiration framed by the previous age, or one of the previous ages, of varying length, during which precession moved at slower rates (see a post on http://www.stoneprintjournal.blog for a discussion of the problems inherent in assumptions of precessional metrics, obliquity, and the Newcombe curve).
Marsha Walker; Where spirit meets goddess. Cosmology labels and axial grid by E Furter 2015.
Type label; Character (archetypal features):
01 Builder or Taurus; Swallow or swift-person (bird, swift-person).
02 Builder or Taurus; ? and ? (cluster. Their opposites at 9 are also indistinct).
03 Queen or Aries; Long-necked animal icon (long neck), topping a mask.
04 King or Pisces; Large mask (more typical of 15).
04p Gal.S.Pole; Mask jaw (limb joint, a frequent polar marker).
05a Priest or Aquarius; Chest (heart, of 12 opposite) of a priest (priest).
05b Priest or Aquarius; Chest (heart) of a geometric character.
06 Exile or Capricornus; Coyote? (more often caprid), near the centre (ingress).
07 Child or Sagittarius; Snake skin (bag), NO EYE, but lack of an eye is not penalised at type 7, since it is often a bag.
7g Galactic Centre; Palm-tree top (juncture).
08 Healer or Scorpius; Hut.
09 Healer or Scorpius; ? and ? (their opposites at 2 are also indistinct).
10 Teacher or Libra; Central character’s chest (heart, unusual at type 10). Some elements hint at overwork or re-work of the design, as found in the artworks of William Blake, Poussin, and a few other esoteric artists.
11 Womb or Virgo; Salmon abdomen (womb), swimming upstream to spawn.
11p Galactic Pole; Central woman’s jaw (limb joint, a frequent polar marker).
12 Heart or Leo; American Indian warrior’s chest (heart).
12 Heart or Leo; American Indian warrior (war).
14 Mixer or Cancer; American Indian woman.
15 Maker or Gemini; American Indian person.
15g Gate; Five dots (juncture).
Test your own artwork, or your own art analysis
These ‘peyote’ artworks are from a quick internet search. I downloaded the first six works containing eleven or more characters. They all express the five layers of mindprint structure, with the usual apparent variation and pleasant surprises, while remaining true to archetypal ‘grammar’ or ‘DNA’.
Artworks with less than eleven characters (people, animals, geometric figures, etc), usually express only some of the sixteen types, and are difficult to prove as typological, since some lack axial opposites, and minimal or ‘sparse’ artworks lack the full and complex context of multiple points of evidence, and axial geometry, to prove subconscious expression of the structure. However mindprint art could be used to reveal archetypal elements in sparse works by any artist, in any culture, since the compulsive inspiration for visual expression, is from the collective subconscious.
Mindprint thus enables conscious appreciation of our surprisingly detailed subconscious access to archetype, which informs nature, as well as perception, and all cultural expressions.
Art does not ‘come from’ drugs
Art is not inspired by any drug, be it peyote cactus, mescaline, ayahuasca, DMT, ‘flight’ mushrooms, cannabis or another plant or compound. These may all semi-artificially promt or sustain natural visions, which may take special skill and practice to remember and to incorporate in an artwork. Art does not come from trance either; most artists are not aware of undergoing trance states. Healers usually art, but most are not artists. Most artists are not healers. Most artists work from imagination, or dreams, or by transforming exposure to other art, scenes, myth, music, ritual, or events.
Visual technique is a gift, as some of the skills needed in ritual, myth-making, healing and other cultural expressions are a gift. Artistic techniques may improve with meditation, practice, and teaching, however conscious efforts improve mainly styling and texture, while the inherent structure and core content of art, and all culture, appears in the complex artwork of most novices and masters alike.
Art does not ‘illustrate astronomy’
Correspondence theorists and archaeo astronomers should note that cultural structure arises from archetype, just as the periodic table of chemistry, or the double helix of bio-chemistry, arises from the inherent structure in nature. Art does not illustrate astrology. Seasons, myths, rituals, icons, and all cultural ‘goods’, express archetypal structure, as a kind of compulsion. None of these expressions precede or ‘teach’ the others.
Compare the subconscious mindprint any style or media of visual artworks, with some subconscious mindprints in other art and rock art, at www.edmondfurter.wordpress.com
The book also reveals that the same structure applies to myth and literature, and demonstrates mindprint in a verse from the Mishnah. However it notes the difficulty of extracting the subtext from a written or recited text, that tends to fluctuate between characters, motivations, typology, and episodes. Visual art unerringly reveals its ‘subtext’ in visible attributes of characters, and their complex spatial relationships.
Built sites express the same structure
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprintjournal.blog or at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, in several media.
Subconscious structure in the Paradise illustration in a book by Doctor Dahesh
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
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).
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