Structuralist analysis of Aztec murals, and the site plan of the ‘Sun’ and ‘Moon’ pyramids and maze of buildings at Teotihuacan, reveals the usual five layers of subconscious structure at several levels of scale. Treasures found in the cave starting under the Rain god’s temple, add mythic and ritual features to the layers of archetypal structure.
Teotihuacan mountain stream mural
Structuralist analysis of an apparently random or chaotic Aztec mural at Teotihuacan, reveals the usual five layers of subconscious structure. Several types are expressed by two characters on the same axis, and by extra adjacent axes (notably types 5a and 5b, here labelled Aq5,20 and Aq5,21). The four Heart axes are in the mountain stream, a conical but watery hill with waterfall and cave. In the site map below, see type 2 Builder (here labelled Ta2 for Taurus2), as Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster). See the Underworld notes below. Types 11 Womb and 12/13 Heart (here Vi11, Le12, Le13) are in the centre of this watery caved hill. In the site map (below), type 11 Womb is at the centre of the ‘Moon’ pyramid, and types 13 Heart (Le13) are at the centre of the ‘Sun’ pyramid. As usual, structuralist correspondences are not consciously intended, but arise from archetype.
Leo sun and Virgo moon on Teotihuacan pyramids avenue
The sequence of archetypes in Teotihuacan pyramid field is (noting globally recurrent, archetypal features with analogous calendric labels):
1 Builder or Taurus1; Feathered Serpent (bird) temple’s east forecourt.
2 Builder or Taurus2; Feathered Serpent (bird) pyramid, over a cavern (cave) with many offerings (cluster. See Underworld notes below).
2c Basket; Feathered Serpent’s court.
3 Queen or Aries3; Feathered Serpent’s west temple.
4 King or Pisces4; Feathered Serpent’s west forecourts, four rectangles.
5a Priest or Aquarius5,20; Very large court (large).
5b Priest or Aquarius5,21; A temple or palace.
6 Exile or Capricornus6; Small pyramid, far from the centre (ingress /egress).
7 Child or Sagittarius7; A quartered cluster.
8 Healer or Scorpius8; North complex.
9 Healer or Scorpius9; Palace of Quetzalpapalotl annexe.
10 Teacher or Libra10; West temple of ‘Moon’ pyramid.
11 Womb or Virgo11; ‘Moon’ pyramid core (womb).
12 Heart or Leo12; Palace of Jaguars (felid).
13 Heart or Leo13; ‘Sun’ pyramid core (heart).
14 Mixer or Cancer14; ‘Sun’ pyramid south temple, near the invisible axial centre (ingress).
15 Maker or Gemini15; Double structure (doubled).
15g or Gate; Moat (path, water) or boundary.
Axial centre; On the central avenue edge (juncture), at the ‘Sun’ pyramid enclosure SW corner (juncture).
Galactic axle (pG and pGs); Diagonally across the middle part of the central avenue (which is 15.5 degrees east of north), at about 19.5 degrees east of north. These angles derive from tetrahedral and spherical geometry, involving the irrational fraction pi.
Midsummer or Celestial Pole, pC; On the ‘Sun’ pyramid corner (juncture), about due east-west (‘horizontal’) from the invisible axial centre. This polar marker places the structuralist abstract ‘summer’ between types 13-14, in the sector of the half-type 13c Basket Head, analogous to Leo-Cancer months (labelled Le13 and Cn14). Thus ‘spring’ and the time-frame is in Age Taurus-Aries (always 90 degrees before midsummer), indicating BC 1500, before the work as usual. This subconscious ‘dial’ at the fifth level of subconscious archetypal expression, is always approximate, particularly when expressing Age transitions. In Aztec myth, the Fifth Sun manifested at Teotihuacan. More study of site features, as they are revealed by excavation, could reveal or contradict some archetypal features.
Underworld in Teotihuacan’s Rain Bird cave
A tunnel under the Feathered Serpent pyramid (see type 2 Builder in the list above) has thousands of treasures left as ritual dedications about 17m underground (Chavez 2004). Items include crystal eyes, spiral shells, metal spheres, and a miniature mountain landscape model with tiny pools of liquid mercury representing lakes as a kind of underworld. The walls of the tunnel were rubbed with powdered pyrite (fool’s gold) to imitate galaxy stars. A cluster of items is typical of type 1 and/or 2 Builder, analogous to the Pleiades and Hyades star clusters in Taurus, due to the common archetypal origin of cultural media. The tunnel passes below the nearby great plaza, from type 2 Builder, which recurrent features include caves (see the Appendix. See the Seven Sleepers cave of Ephesus in the Europe chapter). The tunnel also runs under type 2c Basket of Mysteries, which is often expressed as a hidden container, a secret, or delayed revelation. One end of the tunnel has three chambers with many items (cluster), including four greenstone figurines carrying bundles of objects, pendants, and pyrite mirrors, probably calendar characters. Watermarks confirm that the plaza above was flooded to imitate the sea of re-creation, with pyramids as metaphorical mountains re-emerging. Some theories (see http://lostscienceoftheandes.com/) propose that surface ponds may have acted as quake and volcanic detectors, since earth tremors resonate best at latitudes north or south 19.5 degrees.
In the Feathered Serpent pyramid (type 2 Builder, or Ta2), above the surface, were remains of about 100 warriors, kneeling with hands bound behind their backs, probably sacrifices (type 2 features include twisted postures). In the tunnel are many fragments of Storm god figurines, typical of type 1 Builder or Ruiner (labelled Ta1), perhaps ritually smashed to imitate or to cancel his destructive element. His features include lightning and underground waters, perhaps including volcanic lava (while the adjacent type 2 Builder more often expresses rain and mud-brick or adobe building). These cultural features may support Mayan geology science theories of ponds used as seismographs.
Below are some examples of archetypal structure or mindprint ‘grammar’ in mushroom or psilocybin art, and in fairy art. And sugar and chocolate art. Psychedelic art is entertaining.
The subject and styling of mushrooms art, fairies art, and sugar candy art, are often commercialised, but offers yet another test of the claims I make in the book Mindprint (Furter, 2014. Lulu.com). Mayan chocolate art offers an apparently more serious, but equally valid test. Each claim has important implications for several sciences, and for popular culture;
 the standard set of typology features (certain postures; and items such as staffs, bags, ropes) occur at set average frequencies in complex artworks;
 and they appear in a standard sequence (analogous to seasons, and the myth cycle in hour decans and the zodiac);
 and the eyes of the typological characters are always opposite their complementary types on an axial grid;
 and five polar features, usually marked by limb joints, express a temporal framework analogous to precessional Ages;
 Artists are unaware of the complex structure of visual expression, which is inspired by the collective subconscious;
 Artworks containing more than eleven characters, all express the mindprint structure, irrespective of place, culture, Age, era, or mind-altering substances (see mindprint in peyote or mescaline art, and mindprint in ayahuasca art, on adjacent pages; see examples of Ice Age, Gobekli Tepe, ancient, classical, political, decorative, modern, ‘academic’, famous, amateur, and rock art, on www.edmondfurter.wordpress.com and 200 diverse examples in the book from Lulu.com);
 The mindprint structure depends on inspired eye-hand-mind co-ordination;
 The structure does not appear in photographs, or in art made by mechanical means.
If these claims are true, then the standard set of labels, and axial lines and types, should also appear in complex commercial art, and sketchbooks, and not in photographs such as the Cottingly fairies photos (probably of paper sketch cut-outs), or fancy dress photos.
Every mushroom person has a story
Type labels; Characters in the Shannon artwork (noting archetypal features):
02 Builder or Taurus; Mushroom person twisted (twisted, not accounted here since several stems seem to be twisted).
02c Basket; An ‘extra’ mushroom-person.
03 Queen or Aries; Long bent mushroom-person (neck long or bent, not accounted here since these features abound).
04 King or Pisces; Mushroom person.
05a Priest or Aquarius; Other eye of the same mushroom person (varicoloured, large).
05b Priest or Aquarius; Blue-topped (varicoloured), large head (large) mushroom person. And a small flying (hyperactive) angel (angel).
06 Exile or Capricornus; Far from the centre (egress).
07 Child or Sagittarius; Mushroom person without ‘head’ membrane (juvenile?).
08 Healer or Scorpius; Bent forward, same character as 9 (bent forward, not counted here).
09 Healer or Scorpius; Bent forward (bent, not accounted here).
09c Basket Lid; On overhanging pod skin (container).
10 Teacher or Libra; Mushroom person frontal.
11 Womb or Virgo; Mushroom person stem (womb. Circle added).
11p Galactic Pole; Stem-pod joint (limb joint).
12 Heart or Leo; Mushroom person chest (heart, a circle added here).
13 Heart or Leo; Mushroom person.
14 Mixer or Cancer; Mushroom near the centre (ingress).
15 Maker or Gemini; Mushroom pod with a leaf (rope, not accounted here), without an eye (bag).
The ecliptic poles are both at the axial hub, on a stem-pod junction (limb joint). The celestial pole is on 14’s jaw (limb joint). The celestial poles are on the vertical plane (orientation), here near the Cancer-Capricornus axis, tagging the time-frame of Age Aries, our preceding Age, as most artworks have been during the last 2100 years of Age Pisces. Age Aquarius started in 2016 (as demonstrated in Mindprint, published in 2014). Some artworks have already expressed the transitional time-frame of Age Pisces-Aquarius.
There are many kinds of people recognised in art and rock art studies, such as swift people (swift-humans), karos or coat or bag people, therianthropes (animal people, such as lion people, antelope people), veganthropes (tree people, flower people, mushroom people), geoanthropes (geometric shape figures; P-people, X-people), and so on. A list of ‘kinds’ (not to be confused with types), is given in the book Mindprint.
Mushroom people are rare, but known in rock art, as in an engraving in Egypt at El Hosh, and at Tassili in the Sahara, and perhaps on a female initiation rock pavement at Driekops Eiland in South Africa. Mindprint analysis could not make any value judgement of artistic technique or styling, only indicate the relative complexity of the inherent structure and typology. In these terms, most famous and many novice artworks have more or less the same complexity. Artworks typically contain 60 of 100 predicted features, each in apparently different figures and designs, until the core content is isolated and compared to reveal the inherent structure.
All together now
Type labels; Characters in a Squareup artwork (noting archetypal features):
01 Builder or Taurus; Tree gnome twisted (twisted).
02 Builder or Taurus; Tree gnome (decan Perseus, sometimes at a tree of life. See Tarot trump 17, Star, at a tree and a phoenix).
02c Basket; A tree fairy.
03 Queen or Aries; A fairy, facing backward (neck long or bent).
04 King or Pisces; Caterpillar squatting (squat).
04p Galactic south pole; Two water bubbles (juncture, spout).
05a Priest or Aquarius; Gnome on a halo (varicoloured, hyperactive).
05b Priest or Aquarius; Halo person (varicoloured, large).
06 Exile or Capricornus; A planet, near the centre (ingress). And a halo person (tree?).
07 Child or Sagittarius; Mushroom person (bag) with a bag (bag) on a sling (rope).
08 Healer or Scorpius; ?
09 Healer or Scorpius; Wise gnome (healer?).
09c Basket Lid; Gnome with a large beard.
10 Teacher or Libra; Wizard gnome.
11 Womb or Virgo; Tortoise womb (womb).
11p Galactic pole; Wagon hinge (limb joint).
12 Heart or Leo; Gnome sitting flat.
13 Heart or Leo; Gnome heart (heart).
14 Mixer or Cancer; Gnome with a jug (see Tarot trump 14, Temperance).
15 Maker or Gemini; Gnome with a tool (smiter, sceptre), near twins (doubled). And another gnome (doubled), smiting (smiter).
The axial centre is on a fairy foot? (limb joint). The celestial pole is on type 15’s hand (limb joint). The celestial south pole is on a rabbit hip (limb joint), on the horizontal plane (orientation), tagging for spring and the the temporal framework in Age Aries-Pisces, before the work as usual worldwide.
Fairies, gnomes and plant ‘people’ are like the jinni (singular; jinn) in Arabic and Asian folklore; indwelling in nature, and subject to angels and gods (see Geoffrey Hodson; Land of the Gods. Theosophical Society press). They seem less important in myth than gods and heroes, but some artists take them seriously.
Art of our time
Type labels ; Characters in an Arcann mushroom-styled artwork (noting archetypal features):
02 Builder or Taurus; Flower (cluster), twisting (twisted).
02c Basket; Bonsai plant halo.
03 Queen or Aries; Antelope with large ears.
04 King or Pisces; Goldfish (fish), in a bowl (decan Pegaus pond).
04p Gal.S.Pole; Shoulder (limb joint).
05b Priest or Aquarius; Student (science) in blue, red, white stripes (varicoloured, large).
06 Exile or Capricornus; Goldfish (fish tail) near the pole (ingress).
07 Child or Sagittarius; Bag or rag or flag (bag), NO EYE, but allowed at type 7, since it is often a bag or unfolding organism. Lack of an eye is compensated for by the extra bird in the top corner, whose eye does not have an axial opposite.
09 Healer or Scorpius; Rat reaching forward (bent) with a strong arm (strong).
10 Teacher or Libra; Concentric circles (wheel).
11 Galactic pole; Branch fork (juncture).
11 Womb or Virgo; Robot’s womb (womb).
13 Heart or Leo; Antelope heart (heart).
14 Mixer or Cancer; Rocket, far from the centre (egress).
15 Maker or Gemini; Ape-man on a branch (rope).
15g Gate; Flowing branch (juncture).
The axial centre is unmarked a usual. The celestial pole is on an antelope hip (limb joint), vertical to the axial centre (orientation), indicating spring and the temporal framework of Age Pisces-Aquarius, the current era. Age Aquarius started in 2016, but some artworks, particularly in experimental styling, already expressed the transitional era some years before.
This styling is associated with ayahuasca and trance vision in general. Artistic inspiration is a natural gift, improved by practice, and is not gained or enhanced by any drugs.
To sleep, perchance to dream at a healing pillar
A Greek T-shaped healing pillar in a votive relief to healing god Asklepios, shows a doctor treating a patient, then the doctor sleeps below a T-shaped pillar to receive a healing dream, and the patient is healed (BC 350. Athens National Museum).
The Greek healing pillar is a conventional signboard shape, which incidentally resembles Gobekli Tepe T-shaped pillars (see an article on Grahamhancock.com, under Author of the Month, September 2015), and all horizontal-vertical junctions, such as T-O, or (T) maps. Asklepios expresses type 8/9 Healer or Scorpius. In art he is often shown bent forward, in trance, leaning on a stick or two sticks, sometimes at or with a pillar (see Tarot trump 9, Hermit, leaning on two staffs; and trump 8, Strength, sometimes with a broken pillar. The same emblematic motif appears in many San Bushman paintings, art and rock art worldwide). Here the bent attribute is in the reclining posture; the staff is visible below his clothing; and the trance attribute is in the implied healing. Two all-seeing eyes frame the top of the engraving. Healers are herbalists. Most healers go into trance naturally, or from certain rituals. Drugs do not induce ‘clean’ or healing trance states. As San Bushmen say, ‘cannabis does not lead to God’. All cultures use pillars, stelae, engravings, inscriptions, art, talismans and sigils in aid of personal and social healing in the general sense.
Mayan chocolate ritual art analysis
Candy Land game board for Hasbro (Caram Law. Cosmo labels and ocular axes added by Edmond Furter).
Up the walls and over the top
Type labels; Characters in a Caram Law sugar-styled artwork (noting archetypal features):
01 Builder or Taurus; Lime-person.
02 Builder or Taurus; Sugar fairy in twisted pose (twisted).
02c Basket; Sugar mountain cave.
03 Queen or Aries; Ball head below a tall cone (neck long or bent). White faces are more typical at 15.
04 King or Pisces; Pudding person dancing.
04p Gal.S.Pole; Pirate skull jaw (limb joint).
05a Priest or Aquarius; Two pudding people on the same axis.
05b Priest or Aquarius; Gingerbread person (varicoloured).
06 Exile or Capricornus; Pirate frog near the centre (ingress).
07 Child or Sagittarius; Candy ball person (bag).
08 Healer or Scorpius; Candy man at a pillar (pillar).
09 Healer or Scorpius; Candy platform on a pillar (large, pillar).
10 Teacher or Libra; Pirate, posture unclear (arms up? staff?).
11 Womb or Virgo; Faceless lolly stick, axis on its body (womb).
12 Heart or Leo; Sugar girl’s chest (heart, more usually male).
13 Heart or Leo; Lollypop.
14 Mixer or Cancer; Lime-person, nearer the centre (ingress).
15 Maker or Gemini; Cone-person with a cane (sceptre).
The ecliptic poles are at the axial hub on a ship mast crow’s nest (juncture). The celestial pole is on an X-marker (juncture). The celestial south pole is on the ship’s wheel (juncture). The polar triangles and the vertical plane (orientation) indicate that the artwork is expressed in the temporal framework of Age Aries-Pisces, as many works of the Renaissance were.
Mushroom child art analylsis;
jingles are big business
Type labels, Characters in a Caram Law artwork (noting archetypal features):
01 Builder or Taurus; Large star-person.
02 Builder or Taurus; Star-person.
03 Queen or Aries; Mushroom smurf eye.
04 King or Pisces; Mushroom smurf eye.
04p Galactic south pole; Foot (limb joint).
05a Priest or Aquarius; Ball person face, on a large blue mushroom (varicoloured, large).
05b Priest or Aquarius; Large varicoloured ball person (varicoloured, large).
06 Exile or Capricornus; Mushroom puppy, far from the centre (egress).
07 Child or Sagittarius; Mushroom pod person (bag) with a rope (rope).
08 Healer or Scorpius; Large (large) child.
09 Healer or Scorpius; Large (large) child, her other eye, legs drawn up (bent forward?, large) on a mushroom (pillar).
10 Teacher or Libra; Mushroom baby.
11 Womb or Virgo; Finger stem person’s womb (womb).
14 Mixer Cancer; Bauble-person, as tree decoration (tree).
15 Maker Gemini; Star-person on a rainbow (rope?).
The ecliptic poles are both at the axial hub on a bow knot (juncture). The celestial poles are unmarked, and may be are on the vertical plain, at the Taurus-Scorpius axes, indicating the forthcoming Taurus midsummer of Age Aquarius, that started in 2016.
Fairies art analysis;
A rough draft of old favourites
Type labels; Characters in a Mamorumi fairies artwork (noting archetypal features):
01 Builder or Taurus; Gnome puppy, looking backward (twisted).
02 Builder or Taurus; Central boy’s other eye.
02c Basket; Hair topknot? (weave).
03 Queen or Aries; Gnome. And the central boy.
04 King or Pisces; Elder gnome, a father.
05a Priest or Aquarius; Boy with dark hair, his other eye.
05b Priest or Aquarius; Boy with dark hair. And a gnome.
06 Exile or Capricornus; Elder gnome, near the pole (ingress).
07 Child or Sagittarius; Fairy face (unfolding).
08 Healer Scorpius; Bulky fairy (large or strong).
09 Healer or Scorpius; ‘Eye’ on a fairy wing (large).
09c Basket Lid; Fairy outline, wings up (arms up).
10 Teacher or Libra; Fairy girl.
11 Womb or Virgo; Fairy girl’s womb (womb).
11p Galactic pole; Fairy girl’s elbow, or knee, or elbow (limb joint).
12 Heart or Leo; Fairy girl’s lower chest (repetition of this feature on one chest is unusual).
13 Heart or Leo; Fairy girl’s upper chest (heart. More usually male).
13c Basket Head; Fairy girl with wings folded (weave).
14 Mixer or Cancer; Smaller fairy girl in flight.
15 Maker or Gemini; Gnome puppy’s other eye, baggy cheeks (bag).
The axial centre is unmarked, as usual. The celestial poles may be on the horizontal plane (orientation), here placing midsummer between Leo and Cancer, implying spring and the time-frame of the work as Age Taurus-Aries. Many alchemical works are expressed in the Age Taurus framework, and many spiritual works are expressed in the Age Aries framework. Most artworks express the prior Age, at the perceived time of the formation of the culture or tradition.
Photo typology analysis: But it is not art
Characters in photographs are usually selected and arranged without archetypal inspiration. Despite a wide variety of recognisable legendary characters, their peripheral sequence does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only three potential axes meet in two or three different places on the photograph, consistent with the rules of chance for a cluster of similarly oriented bodies containing asymmetrical lucida (bright points). In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes at fixed average frequencies, and leaving only one or very few ‘extra’ figures outside the grid.
Mindprint could also be used to reveal errors in copies of rock art or artworks, however most artists who copy other works from memory, are likely to express a new mindprint (see Andrew’s copy of an Australian rock art work from memory, at http://www.edmondfurter.wordpress.com).
The famous Cottingley fairies photographs were probably made of sketchbook paper cutouts with textile wings. There are fewer than the required eleven characters here, but even if more were added, their attributes would probably be too similar, and their positioning too random, to express archetypal structure.
Characters in photographs are usually selected and arranged without archetypal inspiration. The peripheral sequence usually does not form an archetypal set, and their eyes, even with some potential hearts and wombs added, are not spaced on an axial grid. Only four potential axes meet in one point on the photograph. In a similar artwork, five or more ocular (eye to eye) axes would have crossed in one point, with the usual heart and womb adjacent to one another, and confirming the usual sequence of optional attributes.
Only the mind-eye-hand co-ordination of an artist could express archetypal structure in art, and then only if the conscious mind is occupied by the usual artistic concerns, leaving the subconscious free to impose the structure of perception and nature on the rock or canvas.
How to test structural art analysis
To do a structuralist art analysis test, or building site structuralist analysis test, use the standard set of labels to cut and paste next to typological characters in any complex artwork (containing eleven or more figures). The labels are given with opposite pairs above and below one another;
If you identify only twelve types (ten eyes, one heart, and one womb), then use only one the labels for types 2v9 (not 1v8), and 5b,v13 (not 5a,v12). See a more detailed guide to structuralist art analysis in the book Mindprint. Artworks containing only fourteen types, probably double one of these opposite pairs. Sixteen axes are more frequent, and some complex works double other types as well; or add separate characters to express polar features by their limb joints. In works containing more than about 26 characters, test for a possible double adjacent imprint, perhaps with a few characters shared by both cycles.
Use the table of features (in two other posts on this website, or more completely in the book Mindprint, or the book Stoneprint, or in recent editions of Stoneprint Journal) as a format for writing a caption to your structuralist analysis.
Ages are named after the spring position, which is always 90 degrees before midsummer or the celestial pole position. Both move backwards, or precess, against the constellation markers. Note that seasons, myths, rituals, icons, emblems, and artworks all express archetypal structure, and do not derive from one another. Even artworks that apparently illustrate a myth, a ritual, a season, a set of trumps, a procession, or a zodiac, also independently express archetypal structure.
See Edmond Furter; Mindprint (2014, Lulu.com) for a full discussion of the theoretical context of the philosophy and psychology of archetype and perception; and a critique and update of structural anthropology and cognitive archaeology; as well as a critique of the reasons why art history and esoterica have failed to identify mindprint, despite extensive research into gestalt perception and conceptualisation, and into ‘tacking’ between sets or categories of icons and meanings. The book also has tables detailing many more archetypal attributes (beyond the more obvious and high frequency attributes listed in the caption format), and 200 illustrations demonstrating how mindprint was discovered.
See an article on the archaeological implications of mindprint for rock art, in the global anthropology journal, Expressions, volume 9, p21-25, and in some other editions.
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities 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.