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 (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.
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).
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
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.
[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.
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.]
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.
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.
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. Type labels and axial grid added by Edmond Furter.
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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 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).
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 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 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).
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 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 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.
Here are some examples of the subconscious mindprint in San Francisco art. Structural art analysis applies to any area, any culture, and any era, from the Ice Age to today.
I label and mark out the usual set of typological characters, in their standard sequence, with the eyes of opposite types on the usual ocular (eye to eye) axial grid, and with the the tri-polar structure of certain limb joints near the centre.
The prompt for this post was an internet radio interview on mindprint with Cliff Dunning of Earth Ancients, based in San Francisco.
Here are some examples of type 12/13 Heart or Leo, one of which always (85% in all artworks, building sites and some other cultural media globally) has his axis to his chest instead of his eye, as the other types in the cycle of sixteen have. The heart is an inner eye, however archetypal features are subconscious, and do not follow conscious or conceptual logic.
See more examples in other posts (where this type is marked by the label [le12] and/or [le13]). Its place on the ocular (eye to eye) axial grid is always opposite type 5a/5b Priest or Aquarius.
Type 12/13 Heart or Leo is often felid (lion, tiger, puma); and/or inverted (particularly at type 12 Leo); and/or carries a weapon as a lord of life and death; and/or equid (horse, ambiguous with his opposite type 5 Priest or Aquarius).
An African Shiva in a cosmic battle
Type 13 Heart or Leo as the heart of a multi-headed hero or army general (South Africa, Albany Alb03 1r rock art panel. See multi-headed healers and horses in Indian art. In the myth map of constellations, this type equates with Leo and Ursa, both capable of forming horses. However art does not derive from constellations; both derive from archetypal inspiration, and therefore some of the features of myth, ritual, and art co-incide.
Some expressions borrow from others, as astronomy borrows from myth to name constellations, and astrology borrows from myth to interpret seasonal cycles. Visual expression is a function of an integrated set of concepts, and some are incidental with some of the variant stick figures that we animate among incidental dots in the moving sky.
Ursa offered a string of ‘heads’ along its back as polar markers during Age Taurus (see a lion with stars along its back in the Seti1 ceiling). Ursa was the initial polar torn-off foreleg, as summer to the former spring point at 1 Taurus Hyades (Bull face), and later at 2 Taurus Pleiades, a cluster of seven stars (a small foreleg). Type 14 Mixer or Cancer Ursa Minor took over the summer foreleg role in Age Aries, and by coincidence also has seven stars, as a smaller foreleg.
5b Priest or Aquarius here mirrors the posture of its opposite at 13.
A celestial polar marker on a hip, and on the horizontal plane, tag the inspiration to Age Pisces-Aquarius, our current era. However artworks are more often expressed within the temporal framework of the era preceding the artist, or the era when the current culture was formalised.
Sustained co-incidences of many attributes in art, myth, ritual and religion worldwide, due to archetypal inspiration, tempt the relevant sciences into looking for diffusion routes. Thus some academics, and many amateurs, see this multi-limbed figure as made by an Indian, or learned from Indians. Even if the artist had seen an image of a Shiva or a Kali, the attributes of this figure remain rooted in archetype. Hundreds of other examples of these attributes worldwide, such as the large weapon (10% average frequency in art worldwide); and the invisible (and subconsciously aligned) axis from its opposite type to its heart (85% average frequency in artworks worldwide); and the scythe of the emblematic figure of Death in Tarot trump 13; and the horse of similar emblems; and multi-legged horses in myth, such as Odin’s horse Sleipnir in Nordic culture; all indicate that similarities, even as complex as the four-layered mindprint structure, do not require diffusion, teaching, or learning. All cultures have equally complex myths, rituals, and art. Beneath apparent differences, and distinctive styling, the core content of cultural expression is identical.
Hearts and minds in a cosmic battle
Type 13 Heart or Leo as the chest (heart) of a multi-legged horse (equid) or army of a hero (Indian Asuras and Daityas seeking elixir. R Storm; Legends and myths of India, Egypt, China and Japan. Hermes House).
See flying antelope (aelites or flying buck) and flying horses in rock art. See Tarot trump 13 as death militant on a horse, and many similar emblems in calendric and other visual traditions.
A celestial pole on a covered foot tags the inspiration to Age Aries-Pisces, probably prior to the work, but indicating the era of the cultural reformation that re-formalised or appropriated the classical styling.
Type 12 Heart or Leo as the chest (heart) of the outer of four inverted (invert) figures, and the outer of four figures before the retro face of a double-headed leonine sphinx (felid), in a partially concentric, contra-rotating double imprint of decans on three registers (Egyptian Book of Caverns section 3, BC 1426. AG Shedid cited in Wim van den Dungen. Sofiatopia).
Decans are fairly simple and probably consciously recognised as hours, or reduced to twelve that could also signify months. Here the sequence is boustrophedon (as the ox ploughs, in alternating directions), with a few quirks.
Top register left to right;
3 Queen or Aries between two serpents, with the sun as a spring marker.
2 Builder or Taurus Pleiades as seven (cluster) bull men (bovid), with a former spring marker (spring).
1 Builder or Taurus as mummies (cluster) under mounds.
15g Galactic Gate as three shrines (juncture).
15 Maker or Gemini in a shrine with strings (rope) of ten mummies (churn).
Middle register right to left;
14 Mixer or Cancer group.
13 Heart or Leo group as a burial (death).
12 Heart or Leo group.
11 Womb or Virgo as the sphinx (felid) abdomen (womb).
10 Teacher or Libra as Amun (school) with a staff (staff).
Lower register oscillating;
Central; 9 Healer or Scorpius as a shrine snake.
8 Healer or Scorpius and 7g Galactic Centre as a snake (healer) shrine (juncture).
Right; 7 Child or Sagittarius as decapitated Ages (decapitated. See the Narmer palette in another post, and in more detail in Mindprint).
Left; 6 Exile or Capricornus as small supplicants (small).
Right; 5 Priest or Aquarius as large prisoners.
Left; 4 King or Pisces as large supplicants.
Centre. 4p Rectangle (juncture, rectangle, of 4).
The outer cycle of characters is clockwise, sharing four characters, from 2 to 14, with the other cycle; then following eight alternative features in already used characters, from 13 to 4, incidentally agreeing on types 8 and 6.
The inner cycle among characters in the lower two registers on the right, forms an independent anticlox sequence, agreeing with decans on types 14, 13, 12, 11, 10, then below on 9, 8, (not 7 or 6), 5, (not 4, 3, 2, 1, 15). Some groups have extra figures with relevant features at the ready. Outer and inner imprints converge on 14 and 9.
Dual identifications (the bottom centre figure here expresses three types) appear in several decanal sets (see Seti1’s ceiling, in Mindprint, and in another post). Decans are prone to great variety (as Neugebauer and Parker noted in their study of Egyptian decans. See also Aldred on this theme). Double imprints account for confusing variety among decanal sets. Some conscious genius may be scrambling inspiration here, as also practiced by legendising and historicising mythology and theology.
Decanal sets are examples of schooled inspiration, yet conscious and subconscious sequences live separate lives. No standard set of decans ever emerged.
Decanal art understates the attribute, sequence, structure, polar and orientation features of mindprint.
Celestial polar markers of the outer mindprint, on burial feet and a Sphinx elbow, tag the inspiration as Age Aries, incidental with the spring sun over decanal Aries. Celestial polar markers in the inner mindprint on an inverted foot and knee, confirm Age Aries.
* See a list of all the known features of the types, with 200 illustrations, in Mindprint by Edmond Furter (2014, Lulu.com).
Here are some examples of archetype 6 Exile or Capricornus, often expressing Pan, Kokpelli, Janus, a double-header, scapegoat, or sacrifice. It is one of the sixteen character types that all artists and societies express in their works and building sites, in all eras (see Mindprint by Edmond Furter, 2014, Lulu.com, or www.edmondfurter.wordpress.com).
A giant rope controller
Type 8 Healer or Scorpius (decan Ophiuchus, or Galactic rift), is expressed here as a bauble head on a rope walker’s staff (artwork after Egyptian Hunters palette, Hierakonpolis, Naqada3 culture. Perdyn. Smith 1949. British Museum). Its adjacent type 9 Healer or Scorpius is bent in trance ritual as usual, holding a rope to an extra type 6 Exile or Capricornus, and a rear leg of type 5b Priest or Aquarius as a lion (felid, more often the guise of its opposite at 13). The other end of the rope passes under type 10 Teacher or Libra (see the South African Linton panel, in Mindprint, and in another post).
Bushmen say they “climb” out of trance by “the rope of the sky” (Biesele, cited in Lewis-Williams). Type 8 Healer or Scorpius, decan Ophiuchus and Hercules, are Samson types; roping torches to fox tails, adjusting polar pillars and cultural frameworks (see fox tails in a Chinese tile at theme 11, in Mindprint). To view Samson as arising from a constellation, as De Santillana and many other writers do, is to disown his archetypal pedigree, and to reduce culture to fragments of incidental and incremental hearsay. Type 7 Child or Sagittarius is often a youth, here a lion cub.
Type 6 Exile or Capricornus is sometimes a ‘double bull’ with two heads, here a gnu (see a Utah image at theme 5, in Mindprint). However average frequencies of the optional visual attributes of 6 are low. The type is more often recognised by being ingressed towards, or away from the axial centre (48% on average in artworks worldwide). Here it is on one of the longest axes, but nor furthest from the pole, as it more often is.
Type 5 Priest or Aquarius’s body overlaps type 6, as it does among constellations, one of the holographic coincidences that mislead many researchers into assuming that myths and icons derive from astrology, while the reverse applies.
Between types 5 and 6 a serekh (door facade, the early form of a cartouche), perhaps a midwinter marker in Age Aries. Celestial polar markers on a hoof and a canine jaw, on the axis of the rope end, tag the inspiration to Age Aries.
A double-headed half-man
Type 6 Exile or Capricornus as a double-headed buck bag man (South Africa, Fouriesburg, multi-armed. Bet1. SA National Museum. Type labels and axial grid added by Edmond Furter). See the same distinctive attribute in the Egyptian Hunters palette at theme 8, and in other Pan themes. See buck bags unfolding as a kind of bagpipe in Pan themes. The type seems to also express exuberance. A chameleon with human legs is also known in rock art (South Africa, Schweizer-Reneke chameleon double-header, Ditsong Cultural History Museum, not illustrated).
Type 5b Priest or Aquarius here is multi-armed, typical of figures flanking the galactic corners. He is large, active and body-painted as usual, with some attributes of his opposite 13 Heart or Leo in a large chest and an extra axis to his heart (usually 13 is the only character ‘seeing’ by his heart instead of his eye). Here 13 Heart or Leo, and 11 Womb or Virgo, share an axis. Due to damage, noted as prior ‘attempted removal’ in the museum, this work has only two demonstrated axes. A celestial polar marker on a hoof, and the vertical plane of the polar figure and some other figures, tag the inspiration to Age Pisces-Aquarius.
A double-headed Janus
Type 6 Exile or Capricornus as a double-headed Janus, Pan or Hermes pillar (Poussin; Dance to the music of time, 1638. Type labels and axial grid identified by Edmond Furter).
Time belongs to its opposite, type 14 Mixer or Cancer, here strumming a tune as a ‘bookend’ opposite to the herm. Type 6 Exile or Capricornus expresses choice (as in the Paris’s Choice legend), and the present, which is difficult to obtain in a consciousness preoccupied with past and future, requiring meditation. The character is notably far from the pole (egress). A rational parallel to the spatial attribute, is that Capricornus was, and remains the archetypal position of winter (as Aries remains the archetypal position of spring), even before and after Age Aries.
Type 2 Builder or Taurus is a rain goddess (rain) or priestess (rainmaker), as she often is in rock art.
Type 10 Teacher or Libra expresses the carousel of life (wheel, balance), here figured only by a foot, as some of Poussin’s figures habitually do (Poussin and Blake are notable for often expressing fewer than the minimal 11 characters, and cor compromising the subconscious structure of their paintings by minimalism. See a study of miniatures and minimalist structural analysis in Stoneprint Journal 5; Culture code in seals and ring stamps).
A celestial polar marker on an elbow tags the inspiration to Age Pisces or Age Pisces late, incidental with the Renaissance. Polar markers are among the best examples of synchronicity, the apparently meaningful co-incidence of events or attributes, not traceable by physical causation or conscious logic.
Pan, Kokopelli, Krishna, Jethro Tull
Type 6 Exile or Capricornus as a goat and a human, between a double-headed character and a flute player, both features of type 6 (see Kokopelli in Canada below). The double-header, perhaps head-butters or wrestlers, or a figure with six legs, is at type 8 Healer or Scorpius, or type 7g Galactic Centre; and the flautist is at type 5b Priest or Aquarius, a type prone to sharing and swopping features (see theme 5 in Mindprint). Krishna, Pan, Kokopelli and other flute players as forest lords appear in rock art in the Americas, Africa (including Zimbabwe) and India. Ian Anderson, composer and flautist of jazz rock band Jethro Tull, is possibly an incarnation of Krishna, or at least subconsciously started expressing the repertoire; chromatic music of close-fitting notes, arpeggio slides, meditative riffs, standing on one leg, hairy, popular with goat herdesses, and campaigning for forest preservation.
Anderson discovered on a concert tour of India that “They thought I was making fun of Krishna and I had to explain that I had no idea that Krishna did this… I discovered that I was not the only one-legged flute player on earth.” (Ian Anderson; Jethro Tull, Living with the past, DVD EREDV266, Eagle Vision). A bagpipe with lilting tunes over a set of drones is also a kind of Pan music.
Type 5b Priest or Aquarius is dominant here, with a type 6 Exile or Capricornus trunk (proboscis. See a similar figure with large genitals instead, in the USA California Piedra Pintada copy at theme 5 in Mindprint). Some 6 types have Pinocchio noses doubling as flutes.
Celestial polar markers on Pan’s genitals and hip damaged by flaking) tag the inspiration in this rock art work, to Age Pisces-Aquarius. The horizontal plane tags for Age Aquarius. This poor copy of a damaged image demonstrates the order and focus that mindprint brings to apparent doodling chaos, and the window it opens on the human subconscious.