Five layers of subconscious perception and expression are visible in artworks and built sites. The layers are: (a) Type characters with specific optional features; (b) type sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of opposite pairs of types; (d) three pairs of polar junctures, implying three planes of expression; (e) orientation of polar pairs vertical or horizontal to the ground-line or a cardinal direction, co-incidental with the seasonal time-frame of the local culture. Types could be labelled after any natural or cultural set, such as species, myths or months. Generic labels, such as social functions, avoid the false impression of diffusion from one particular medium or culture.
In the Rennes les Bains landscape, if the Blanque-Sals confluence were a Galilee, and its axial opposite at 12 Sals-Rialsesse confluence were a Dead Sea; then Sals is a Jordan; Montferrand a Jericho; and Bains a Jerusalem. Legends are often re-located, partly since the same features are recognised everywhere under different names. The Sals basin also resembles a rectangular walled paradise, bounded east by Montferrand, Cornes, and Soulane hills on the Paris meridian, with three paths; south by Treasure Chest ridge, Charbonniere, with a river ‘gate’ in its middle; west by Rennes plateau with four paths; north by the Rialsesse valley where Cardou and Blanchefort hills flank the river exit ‘gate’. Extract from Stoneprint Journal 6, Rennes le Chateau stoneprint tour.
The French king heaped titles on Duke Anne of Joyeuse caslte in Couiza, near Rennes le Chateau; Mt St Michel governor; Grand Admiral of France; wedlock to the king’s sister in law, a Mercœur. As Protestant civil violence subsided, Anne repaired Joyeuse. He killed 800 Huguenots in Poitou, the St Eloi massacre of 21 June 1587, a rash duty. He led the army against Huguenots and the king’s arch enemy, Henry of Navarre, but was taken near Bordeaux. Joyeuse palace had a varied history, and became part of the grail romances.
Some trade seal stamps from Bahrain, of Dilmun culture; some rare pre-dynastic Egyptian cylinder seals; and some late Egyptian cotton spindle ‘buttons’, are among the 50 seals and stamps used to demonstrate that miniature artworks and ancient logos subconsciously express the universal five layers of culture, identical to larger artworks, but with a few structuralist compromises (for often having fewer than the minimum twelve eyes). Here is an extract from Stoneprint Journal 5 (where 30 of the 50 ancient miniature artefacts are demonstrated, and statistics of the average frequencies of typological features are expanded).
London’s last permanent wall probably expressed the same subconscious structuralist orientation as the stoneprint among London buildings. During the Renaissance London’s buildings doubled in diameter, and quadrupled in surface. The wall was demolished and gates became obsolete. London’s stoneprint retained its orientation (as Rome, Paris and other cities did), but some buildings and some gates acquired new identities, and the polar points moved south-westward, first to Temple Ave, then to the Thames south bank corner.
Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm,…
In artefacts and artworks, where archaeo astronomers see ancient star maps, archaeologists see cultural traditions, and anthropologists see initiation secrets, appear a standard axial grid of archetypes, always in the same sequence. This posts introduces the five layers of features revealed by structuralist analysis of artworks,
Art, myth, ritual, and crafts like astrology, all derive from archetype. This post demonstrates the Senmut pseudo-astronomical ceiling as an example. Culture is sustained and standardised by subconscious expression. I did not design archetype, or this quirky cultural expression of archetypal structure. I merely identify and demonstrate this expression. Astronomical figures are not primarily zodiac figures, since they are not conventionalised. However their ranges of attributes, their sequence, and their relative positioning are highly standardised, forming a mindprint.
The set of archetypes in this artwork is listed here, in the standard sequence, with their mythical month or zodiac names (as archetypes, not constellations), with the universal average frequencies of some common attributes in brackets.
Demonstrations of archetypal structure in many more artworks (already about 700) and building sites (already about 100), adds evidence that the subconscious structure in artworks, or any craft, or cultural media, does not ‘come from’ drugs, or trance, or constellations, or diffusion from any particular culture. Even cosmology is natural and archetypal, not primarily a cultural artefact.