The dominant general theme in Eugenia Loli’s Nirvana artwork is revealed by extra features of type 1 /2 Builder. Its optional recurrent features include cluster (here people and planets), tower, building (here a vault or symbolic subconscious, as recognised by the Builders of the Adytum), hero (rope climber, astronaut, scientist, explorer), book (implied science and library), spring (shadows southward towards green fields), maze (staircases to space-time), and pit (vault). Compare this design with Tarot trump 16, Tower struck by lightning, often shown with scientists and measuring instruments blasted off by lightning of subconscious inspiration. A higher magnitude of 1 is 16 in base-8, an archetypal system often used in natural media (see Furter 2016; Stoneprint p74-81, including atomic numbers in the Periodic table in spiral format after Peyroux).
Type 1 /2 axial opposite is type 8/9 Healer, where optional recurrent features include strength (here the climber and astronaut), pillar (several), heal (implied by levels of consciousness, and maturing students), disc (protractor), smelt (atom), and trance (surrealist style). Between axes 2-9 and 3-10, lie the transitional fields of 2c Basket and 9c lid, whose optional features include weave (here a plant-nest, and atomic orbitals), instrument (telescopic viewers), container (cube), hat (climbing helmet, space helmet, spinning top ‘hat’, and exploration pith helmet), secret (space-time perspective), and planet (here five). Extra expressions of transitional types, and of types 5v12/13, is typical of art styled after ayahuasca, DMT and other hallucinogen visions.
In this work, all the other types, and the polar junctures in the centre, are also strongly expressed, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork. The ‘Three minutes’ in the title, is analogous to the three planes of space and time in cosmology; and the planes of consciousness of Ego-Shadow, Anima and Self.
The artist sees trials and technology as ‘evolution’
The artist wrote that her theme here is ‘the journey of humanity towards a higher state of being. The building and universe are all we could comprehend in human form… In the process, and part of progress, is war and misery. The cube is a teaser of the ultimate prize, placed by ascended people on the top level. The second level is about expanding our horizons towards enlightenment. The woman in black is ready to make the leap. The man on the staircase tries to call her back, but too late. Two people attempt to reach the third level, one climbing, one using trans-human space technology’.
Terence McKenna had a similar view of technology as part of human ‘skin’ (see posts on Ayahuasca oracle of the dead as counter-cult, on www.stoneprintjournal.wordpress.com
Loli continues: ‘The climber and the astronaut would both evolve beyond human. The trophy in the cornice between painted angels, is just a trap, since climbers would have to leave behind vices, delusions, limitations and pride. Most never manage that. A skull is hidden in the flying spaghetti monster flower. At the very top, ascended people wait for newcomers to see the bigger picture beyond time and space.’
The presence in Loli’s work of all five levels of archetypal structure, as they are present in artworks and rock art works of the Ice Age, Younger Dryas, Bronze, Iron and modern eras, ironically contradicts the general assumption of ‘evolution’. But the need for individual maturity is part of the rationale of every human life, and perhaps of life itself. This artwork, and the archetypal ‘grammar’ within it, thus raises the unresolved issue of the extent of ‘evolution’.
Eugenia Loli; Three minutes to nirvana (after firstname.lastname@example.org with permission. Archetype labels and axial grid by E Furter). The work subconsciously expresses about 83% of the currently known archetypal structuralist features; an unusually dense expression for art, but common in complex, psychedelic, New Age, ayahuasca or DMT art where theme, design and inspiration are highly integrated.
Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork.
Type Label; Character (archetypal features):
1 Builder; Ascended or ‘evolved’ group (cluster) seeing the vault (pit) of several levels (tower, built, maze).
2c Basket; Tropical plant (weave) hanging like a nest (container, throne), holding a skull (monster, as of decan star Algol).
3 Queen; Spinning top, UFO or hat (more typical of 10 opposite, or 9c).
4 King; Venus or planet, its axis to its centre (womb, more typical of 11 opposite).
5a Priest; Earth (colours, hyperactive, assembly, water, large).
5b Priest A; Explorer (hyperactive) calling back the woman from leaving.
5b Priest B; Explorer’s second axis (hyperactive) on chest (heart, of 13 opposite).
5c Basket Tail; Air exit (maze).
6 Exile; Child A (small) using viewer (double-head) in U-mount (U-shape).
7 Child; Child B (juvenile) viewing fire vortex (unfold).
7g Gal.Centre; Fire vortex (vortex, juncture).
8 Healer; Child C using geometry projection (‘strong’, ‘pillar’) at protractor (disc) to imagine (trance) an atomic (smelt) cube.
9c Basket Lid; Atom (disc, reveal) with orbitals (weave) in a cube (lid, instrument) levitated by child (armlink). And protractor (disc, lid, instrument).
10 Teacher; Child D operating viewer (arm up, school).
11 Womb; Woman scientist (law), axis to her midriff (womb) in monument (interior) with cosmic knowledge (library), leaving the vault.
12 Heart; Woman scientist leaving or rising.
13 Heart A; Respirator case (‘heart’) of astronaut (angel).
13 Heart B; Astronaut’s (angel) chest (heart) and tanks (rounded).
13c Basket Head; Astronaut’s head (head) and helmet (hat, lid).
14 Mixer; Rope (more typical of 15) climber between spaces and times (time, transform, angel).
15 Maker; Cornice angel or genie (re-creator) in a pair (doubled, churn, order) at a trophy cup (more typical of 14).
15g Gal.Gate; Sun over vault opening (juncture). And a skull (more typical of 15).
Axial centre; Unmarked, as usual.
4p Gal.S.Pole; Unmarked.
11p Gal.Pole; Woman or scientist’s shoulder (limb-joint).
Midsummer or celestial pole (cp); A pillar capital (juncture).
Midwinter or celestial south pole (csp); A pillar base (juncture).
The solstice markers are on a vertical plane. These polar triangles place midsummer between Gemini and Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the presence of three types 5 (5a, 5bA, 5bB), which is analogous to Aquarius. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
The tentative structuralist analysis score is 45/68 archetypal features; 16/16 axial points; 12/4 c-type sector features [excessive scores are counted, to compensate for other fields where full scores are impossible due to inherent optionality]; 3/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 84/100, minus 1 extra character off the axial grid; total 83%. This total is above the upper average margin of the sigma curve of about 35% to 75%. See another unusually detailed expression of known archetypal features, in structuralist analysis of archetype in Marc Alexander’s artwork Prophetic antics, in a post on www.stoneprintjournal.blog).
See other posts on how to identify archetypal features in any artwork or built site or other cultural media, on www.mindprintart.wordpress.com