The Dendera round zodiac ceiling demonstrates the subconscious imprint in a quadruple concentric set of constellations, signs, decans and determinants (Louvre, and in a plaster cast replacement at Dendera in Egypt. Typology labels and axial grid by Edmond Furter). The four sets each follow the eye positions of the sixteen types as usual. These sets are uniquely vortexed relative to one another. The spring and polar section is inset for clarity.
A spring equinox baboon marker sits back-to-back with type 3 Queen or Aries or decan Triangulum, as a slaughtered quarry. Their tails or entrails together reach down to the Aries ram tail, which in turn hangs down to the type 4 King or Pisces ribbons (where the Cetus Whale tail is figured in myth, and in the sky).
A baboon is a movable spring feature, expressing precession (as noted in an obscure Greek tradition) among the types, thus not a type itself, nor a constellation or decan. It marks one or both of the equinoxes, and also finds expression in one of Thoth’s manifestations, resolving some of his emblematic ambiguities.
The spring sun or moon is under the baboon, displaced from 3 Aries to just on the 4 King or Pisces side of the tails, which also extend the Pisces latter ribbon, or forms a third ribbon (see the Cosmic myth map in another post). The spring sun or moon determinant (pictorial sign) is repeated at 4 Pisces constellation, as a character holding a spring sacrifice, formerly a feature of type 3 Queen or Aries, subconsciously dragged into the Age Pisces position in this work of dynamic subconscious structure.
The opposite sun or moon or lunar node is at type 9 Healer or Scorpius, but pictured in type 10 or decan Libra, confirming the usual ambiguity among precession markers and decans (Furter 2014; Mindprint, chapter on hour decans, noting how the night hour markers starting point change through the year, and their emblematic ambiguity).
The four major constellations are doubled in the Dendera round zodiac, as they are in all complex artworks and building sites (Furter 2016) worldwide. All sixteen typology axes are uniquely, subconsciously vortexed in order to link the eyes of northern, ecliptic and southern decans, to galactic or determinant characters in the border (see similar but linearly regimented decans in the Dendera crypt lotus bulb carving, in the book Mindprint).
Stereotypical zodiacs usually do not express the archetypal sequence, nor the axial ocular (eye to eye) structure. The elegant vortex here indicates inspired structuralist detail, beyond the needs of astrology or astronomy (see a vortex in rock art in the book Mindprint, Chapter 7).
This ceiling is useless to astronomical observation or calibration, but a timeless record of our collective need to imprint and review subconscious structuralist calibration, enabling the collective therapy of expressing who, what, where, when and how we fit into nature, and ultimately into archetype. Thus mindprint is revealed as subconscoius ‘graffiti’ behavioru, largely independent of our conscious motives, and of our semi-conscious mechanisms for using cultural goods to bond, appropriate spiritual goods, and exploit rival polities. All cultures use the same core content in their apparently ‘different’ ethnography (this theme is expanded in the 2019 paper Blueprint, on http://www.edmondfurter.wordpress.com).
Some authors read the Dendera zodiac as having been partially re-carved to add Greek and Roman constellations to Babylonian and Egyptian constellations, and to update the poles to precession, thus accounting for ‘generally misplaced’ features. But all these sets are now revealed as subconsciously but rigorously placed on a vortexed axial grid. The solution here indicates a single, inspired design, matched to nearly all the constellations. The only slightly displaced characters, probably due to design constraints, are type 13 Heart or Leo; the polar Ursa bull foreleg, 7g-15g and 4p-11p axes, and polar Draco Hercules Taweret hippo (the latter perhaps just differently constituted, an issue unresolved in Egyptology).
Spherical grid distortion arises from moving the perspective, or projection point of an axial grid, without moving the grid. However projectional distortion is seldom symmetrical or uniformly rotated, as this grid is.
There is no hint in archaeology, art history or esoterica of the conscious use of a vortex axial grid elsewhere. The stroke of inspired genius to express precession by dragging either the peripheral sequence backward, or the polar sequence forward, is probably subconscious, as all 100 known features on the five layers of structure are.
The sets of poles are expressed by the position of certain limb joints, as usual. The axial centre or ecliptic pole is on the jaw (limb-joint) of the Whippet jackal on a plough (Ursa Minor); itself on a bull foreleg (part of Draco, more often also Ursa Minor, or Ursa in older artworks).
11p Galactic Pole is on a staff foot (limb-joint). 4p Galactic South Pole is on an extra fish jaw (limb-joint), figuring constellation Pisces prior fish on conscious iconic level, but expressing type 4p decan Cetus (Whale) Spout on the subconscious level.
Midsummer or Celestial Pole is on type 15 Maker, Gemini, or decan Ursa Minor, as the jaw (limb-joint) of a tiny rear-facing canid, reclining on the other side of the bull foreleg, which is a slightly misplaced type 13 Heart, Leo, or decan Ursa Major (continuing its earlier structuralist function in Age Taurus as celestial polar calibrator).
Midwinter or Celestial South Pole or autumn axis is on the jaw (limb-joint) of the Taweret hippo (who more usually figures the axial centre or Ecliptic Pole). Her polar womb is on the type 10 Teacher or Libra axis, a potential precessional ambiguity in this transitional expression; however the type 10 decan is Bootes, and its genital star Arcturus is on the eternal ecliptic grid directly above the Virgo womb star Spica. Subconscious behaviour has no need to resolve apparent conscious ambiguities.
The celestial pole or midsummer over Gemini, tags ‘spring’ and the time-frame of the inspiration to Age Pisces. Most artworks express a previous time-frame. The Celestial South Pole or midwinter over 6-7, places spring in Age Aries-Pisces, confirming the spring sun or moon entering Pisces, and the archaeological dating as Ptolemaic, in the early centuries AD.
- After a chapter in Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com. Updated January 2019.