Mindprint and decans in the Dendera zodiac

The Dendera round zodiac ceiling demonstrates the subconscious imprint in a quadruple concentric set of constellations, signs, decans and determinants (Louvre, or a plaster cast replacement at Dendera. Mindprint analysis by Edmond Furter. The spring and polar section is inset without axes for clarity). The four sets each follow the eye postions of the sixteen types as usual. The sets are uniquely vortexed relative to one another.

A spring equinox baboon marker sits back to back with type 3 Aries Triangulum as a slaughtered quarry or buck bag. Their tails or entrails together reach down to the Aries ram tail, which in turn hangs down to the Pisces ribbons (where the Cetus Whale tail is figured in myth and in the sky).

A baboon is a moveable concept, not a constellation. It marks the equinoxes, and relates to one of Thoth’s manifestations, resolving some of his historic ambiguities.

The spring sun or moon is under the baboon, displaced from Aries to just on the Pisces side of the tails, which also extend the Pisces latter ribbon, or forms a third ribbon (see the Cosmic map). The spring sun or moon determinant (pictorial sign) is repeated in Pisces, as a figure holding a spring sacrifice.

The opposite sun or moon or lunar node is on the Scorpius constellation axis, but pictured in the sign of Libra, confirming ambiguity among the precession markers.

The four major constellations are doubled, and the sixteen ecliptic axes are uniquely vortexed in order to link northern decanal eyes, through zodiac eyes, to southern decanal eyes, to their determinants in the border (see similar but linearly regimented decans in the Dendera crypt lotus bulb carving at theme 2).

Stereotypical zodiacs usually do not contain the mindprint sequence and axial structure. The implied vortex and iconic elegance here indicate inspiration beyond the needs of astrology or astronomy (see a vortex in rock art at theme 7). This ceiling is useless to astronomical observation or calibration.

Some authors read the work as having been partially re-carved to add Babylonian -Greek -Roman constellations to Egyptian constellations, and to update the poles to precession, thus accounting for ‘generally misplaced’ features, which are now revealed as just vortexed. The solution here indicates a single, inspired design, matched to nearly all the constellations, with only the type 13 Leo Ursa bull foreleg and the Draco Hercules Taweret hippo somewhat misplaced or differently constituted.

Spherical grid distortion arises from moving the perspective or projection point from the centre of a radial grid to another point, without moving the grid. However projectional distortion is never symmetrical nor uniformly rotated, as this grid is.

There is no hint in archaeology, art history or esoterica of the conscious use of a vortex grid elsewhere, so the stroke of genius to express precession by dragging either the peripheral sequence backward, or the polar sequence forward, is probably subconscious.

The sets of poles are expressed by the position of certain limb joints as usual. The ecliptic pole is on the jaw (a limb joint quite frequent in polar posisions, although their relative frequencies have not been statistically resolved) of the Wippet jackal on a plough, itself on a bull foreleg here figuring part of Draco (which more usually figures the celestial pole).

The galactic pole is on a staff foot. The galactic south pole is on an extra fish mouth or ‘jaw’, figuring Pisces prior on conscious iconic level, but the Cetus (Whale) spout on the subconscious level.

The celestial pole is on type 15 Gemini Ursa Minor as the jaw of a tiny rear-facing canine, reclining on the other side of the bull foreleg, which is a slightly misplaced type 13 Leo Ursa Major (continuing its earlier career as the celestial polar calibrator). The celestial south pole is on the jaw of the Taweret hippo (who more usually figures the ecliptic pole). Her womb (extra to the sequence of types) is on the type 10 Libra axis, among the few precessional ambiguities that arise in this transitional expression.

The celestial pole tags the inspiration to Age Pisces, and the celestial south pole tags for Age Aries-Pisces, confirming the spring sun or moon entering Pisces, and archaeological dating as Ptolemaic, in the early centuries AD.

(from Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com)


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