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archetypes in religious art art culture is subconscious mindprint in modern art

Rennes le Chateau’s Sermon on the Mount mural is archetypal therapy

The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount, to newly chosen Apostles, and a crowd west of Galilee, perhaps at the Horns of Hattin, an east-west ridge near Capernaum. Abbe Berenger Sauniere chose this scene for the theme of spiritual healing and ascension.

The western direction, and flowers, indicate spring or autumn sunset, perhaps from Rennes hill, with Casteillas left, and Couiza right (see Rennes le Chateau map 6 and 11). Some authors see it as Bains (11) Mt Cardou; or the Rose Line meridian through Bains, just west of the Paris Meridian; or Violets Hill between the two Rennes (see Bains map 1); or Mt Bugarach; or Roziers Hill. The scene could also be Lavaldieu hill, on the south between the two Rennes, on axis 3 of both.

General subconscious themes in the mural include type 2c Basket, here expressed by Christ; and its opposite, type 9c Lid, here as the bread bag of St Germaine, a girl from a nearby village. She used miraculous flowers in midwinter to hide a bread she had stolen for a beggar, a miracle of physical and spiritual healing. Another general theme in the work is type 5 Priest, here expressed by boy A, perhaps a future priest, Sauniere himself, with the other boy as his brother Alfred, also a priest.

The inscription below reads, “Come to me all who suffer and are overwhelmed, I will comfort you,” from a sermon of Bernard of Clairveaux, after Mat11;28. The cure requires a small task; “Come to me all that labour and are heavy laden, I will give you rest. Take my yoke on you, learn of me, I am meek and lowly in heart, find rest for your souls. My yoke is easy, my burden is light.” If St Magdalene is the woman weeping over Christ’s feet, she is a model of cure and service, since Christ had cast seven devils from her (Luk7;37), enabling her to anoint with tears and ointment. She was present at his crucifixion, a global exorcism of sins. She anointed his body again at the tomb. She saw him risen on Easter Sunday. In local legend she continued the Judaic royal line in France. Magdalene and her ointment vase in art, often expresses type 1/ 2 Builder (see emblems, such as Tarot trump 2, Priestess, Wisdom under a veil between two pillars. See the Types, trumps and hour decans table, in another post). Here her head is under Christ’s cloak. The risen Christ’s hand is now her ‘vase’ (type 2c Basket, container). The sermon is on eight spiritual blessings.

Sauniere had contracted artists from Italy to paint the commercial casts of statues and Cross stations, dictating some background scenes and revisions (Smith 2018), apparently to transpose Biblical episodes into a localised landscape ‘sermon’.

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Rennes le Chateau church back wall relief group of Christ’s Sermon on the Mount (photo after Massagot. Type labels and axial grid by E Furter). Abbe Sauniere had ordered ‘about twelve figures’ from Giscard of Toulouse. Each character expresses some archetypal features, confirmed by the positions of their eyes on an axial grid, as in all complex artworks.

 

 

Type label; Character (noting archetypal features):

[]1 Builder; St Magdalene (priestess), on one knee (twisted), weeping (rain).

[]2c Basket; Christ’s cloak (cover).

[]3 Queen; Christ (sacrifice, spring), preaching (school) spiritual blessings.

[]4 King; Mary (queen), kneeling to touch Christ’s garment. NO EYE.

[]5a Priest; Boy A. Perhaps St Germain and St Sulpice churches as ‘sons’ of St Vincent de Paul; or Sauniere himself and his brother Alfred, also a priest; or Bains and Rennes villages.

[]5b Priest; Boy A’s chest (heart, of 13 opposite). Transfer from a sketch to deep relief sculpture, may have moved this axis from the eyes of boy B and the father, to boy A (more reliefs should be tested).

[]5c Basket Head; Father of two boys (St Vincent de Paul?), with a crutch (leg posture).

[]6 Exile; Mother of a girl and a baby.

[]7 Child; Baby (juvenile) in swathing (bag), eye off the grid (common at 7).

[]8 Healer; St Germaine (see Rennes church floor 6, in another post), kneeling (bent forward), her apron with bread (healer) or gold (metal).

[]9c Basket Lid; Apron bag (container).

[]10 Teacher; Bread bag or gold (metal), torn (9c revelation). Wheat is more typical of 11. NO EYE.

[]11 Womb; Reclining wife’s midriff (womb) under her hands, probably pregnant.

[]12 Heart; Wife’s chest (heart).

[]13 Heart; Wife. And husband’s chest (heart).

[]14 Mixer; Husband, far out (egress).

[]15 Maker; Young man with an arm wound (more often leg wound; see Rennes church floor 15 St Rock statue, in another post). 

[]Axial centre; Christ’s right foot (limb-joint).

[]4p Gal.S.Pole; Unmarked, or displaced to Mary’s elbow (limb-joint). MOVED?

[]11p Gal.Pole; Wife’s elbow (limb-joint).

[]Midsummer; Christ’s left foot (limb-joint), horizontal (orientation) from the axial centre, on axis 14-15. This marker implies that spring and the cultural time-frame is on axis 3-4, analogous to Age Aries-Pisces, the era at the start of Christianity. Artworks and building sites usually reflect the time-frame prior to the work. Structural layers of expression are subconscious to artists, architects, builders and members of any culture.

UPDATE: Structuralist art analyses of other Sermon on the Mount artworks, including Bloch and Dore

Sermon on the Mount print that may be the model for Giscard’s design (image after L’Independant. Axial grid and type labels by E Furter).

The mindprint in all artworks is structurally identical. The number of archetypal characters differ (usually twelve, fourteen, sixteen, eighteen or twenty); the characters differ (although some of their features usually (60% average) include one or two of the archetypal features specific to the type they express in the work; the direction of rotation may be in either direction; and the orientation of the subconscious structure differs (the top central type, or the position of the seasonal markers).

Sermon on the Mount by Bloch, 1877 (image after Wikipedia. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).

Sermon on the Mount by Gustav Dore (image after Creationism. Typology numbers with cosmology or seasonal labels, and axial grid by E Furter).

 

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Categories
Egyptian art analysis

Egyptian art analysis; Hierakonpolis tomb 100 mural

Here is a structuralist art analysis to test the universal standard of subconscious expression, named mindprint, against the Hierakonpolis tomb 100 mural painting.

Egyptian art analysis using the mindprint structure, reveals three adjacent expressions of the standard, universal, roughly oval sequence of typological characters, with their eyes on an axial grid; each with a tri-polar centre; oriented relative to the age of the cultural framework. From Mindprint, p220-221. Compare to a Naqada pot rollout on p126, and to Cyril Coetzee's T'Kama Adamastor, which also has a triple imprint. Artists are not aware of the structure or 'grammar' or visual expression.
Structuralist art analysis using the mindprint model, reveals three adjacent expressions of the standard, universal, roughly oval sequence of typological characters, with their eyes on an axial grid; each with a tri-polar centre; oriented relative to the age or cultural framework of the artist. After Furter 2014; Mindprint, p220-221. Compare to a Naqada pot rollout on p126, and to Cyril Coetzee’s T’Kama Adamastor, which also has a triple imprint. Artists are not aware of the structure or ‘grammar’ or visual expression.

Three chapters in an Exodus

Here type 13 Heart or Leo, and its opposite, type 5b Priest or Aquarius, are both lions (felid is a recurrent feature on this type axis). These lions happen to be the ‘gears’ linking the triple imprint in the Egyptian Nekhen mural in Hierakonpolis tomb 100 (now in Cairo Museum). Shared ‘galactic’ equators also link the three spheres in a semi-symmetrical chain. Imprints ‘geared’ near one of the galactic poles, allow this kind of interlink (see the Palenque Lid structuralist analysis in Mindprint, also in another post on this website, or with many other examples on http://www.edmondfurter.wordpress.com)
In the left sphere, type 8 Healer or Scorpius, analogous to the hour decans Ophiuchus and Serpens Cauda (Snake Holder and Snake Tail), are expressed as a lion tamer, or feat of strength, a feature of type 8/9 Healer or Scorpius in 31% of artworks worldwide on average. These averages are as fixed as the optional set of features that artists subconsciously express, thus only archetypal inspiration could explain the rigorous rules of recurrent features in cultural media. This kind of churn group icon more often appears at type 15g, axially opposite the lion on the left (as it does in the Egyptian Gebel al Arak knife analysis included in the book Mindprint).
Type 10 Teacher or Libra as an antelope has a rearing neck, more typical of its opposite at type 3 Queen or Aries. Type 10 is under an antelope carousel, a wheel of fortune emblem, labelled a heraldic group in archaeology.
Type 3 Queen or Aries has a palm branch (staff is more typical of type 10) and boathouse (throne).
Type 11 Womb or Virgo axis is on a slaughter victim’s midriff (womb) instead of an eye, a regular ‘exception’ found in 87% of artworks, adjacent to type 12/13 Heart with its axis on a chest in 85% of artworks worldwide. These two quirks are among the unwritten rules of subconscious expression of archetypal structure, which incidentally hides the spatial structure from conscious view, until demonstrated by axial lines.
Polar features place the analogous ‘spring’ point in type 1 /2 Taurus, tagging the inspiration with the time-frame of Age Taurus, incidental with archaeological dating of this mural in the centuries after about BC 3500. The work is usually younger than the Age indicator.
In the central sphere, type 7g or Galactic Centre is a boathouse palm branch, although boathouse shrines are more often expressed at types 1 Builder or 15 Maker (as is is here in the left sphere) or 7 Child (7-15 are axial opposites). These types all flank galactic features, indicating that boat shrines function as a kind of churn group. In the right sphere, type 7g or Galactic Centre is again a boathouse.
Astronomical co-incidences are due to archetypal inspiration. Coherent sets of archetypes resemble one another, and appear to derive from one another, but each derive independently from inspired expression of the structure of archetype, energy-matter interchange, nature, perception, culture and meaning itself. Behaviour is inherent, not invented, and does not evolve. Only styling fads change to enable appropriation and to sustain socio-economic peer groups.

  • See structuralist analyses of artworks, rock art works, building sites, sets of icons, and alphabets, in Mindprint (Lulu.com), or in Stoneprint Journal editions (Lulu.com), or order the book Stoneprint from edmondfurter at gmail dot com at $30 plus postage from South Africa.

Here are some details of the three sectors of the Hierakonpols Nekhen tomb mural;

Egyptian art analysis, testing the universal mindprint structure in a predynastic mural at Hierakonpolis, tomb 100 or Nekhen mural. From Mindprint p220.
Structuralist art analysis of the universal mindprint model against a predynastic mural at Hierakonpolis, tomb 100 or Nekhen mural, left imprint. After Furter 2014; Mindprint p220.
Egypitian art analysis; demonstrating the universal subconscious mindprint structure of expression, in the Hierakonpolis tomb 100 mural, right half. From Mindprint p221.
Structuralist art analysis of the universal subconscious mindprint model, against the Hierakonpolis tomb 100 mural, right half. After Furter 2014; Mindprint p221.