Here are some more of the 200 structural analyses of art, rock art, artefacts, astronomy, and reflexology examples, from the book Mindprint (Edmond Furter 2014, Lulu.com); as well as some artworks sent to me by readers and web visitors.
I identify and label the typological figures, and confirm the identification and sequence by the axial grid between their eyes, and the tri-polar structure.
See examples of the standard multi-layerd mindprint structure, in artworks styled as ayahuasca art, and peyote or mescaline art, compared to some Lapp drum skin art, and some works by Salvador Dali, at http://www.mindprintart.wordpress.com.
That page demonstrates again that art does not ‘come from’ drugs, or trance, or constellations, or cultural diffusion.
The structure in our cosmology
No observer could see this view of the sky, yet it reflects the structure of cosmic concepts as expressed in most artworks, of all cultures and Ages.
Ecliptic projection is the most holistic translation of the concepts of time and season to a flat surface, to which we instinctively add analogous natural and cultural attributes, thus expressing archetype on the stellar canvas.
Astronomy is not the origin of archetype, just as classes of natural order among species, human tabulation, opera and artworks are all imperfect expressions of aspects of archetype, and none are ‘original’. Since myth and astrology are generally known, this study uses mythic and zodiac (ecliptic equator) labels to demonstrate archetypal structure in art.
Constellations are here divided by the galactic cardinal (cross) structure, and by unequal angles aligned to our subconscious visual structure of sixteen types as revealed in this study.
The band of figures around the ecliptic favours pairs of opposing and complementary figures of near equal extent, supported by two, three or four adjacent constellations (decans) each. Constellation figures follow gestalt rules (perceptive wholes among parts) by connecting nearest and largest stars in stick figure form, favouring lucida (brightest stars as visual anchors).
Most available star maps are projected differently, around the celestial (daily rotation) polar axis (pC and pCs), with a celestial reference grid which is continually updated to keep track of the slow migration of earth’s rotational poles and equator against the stellar backdrop.
Pole E is the ecliptic pole, an imaginary axle for earth’s yearly orbit around the sun (which appears to us as the sun’s orbit passing through zodiac constellations). Pole E south (pEs) is always directly behind pE in inspired art. These poles are static, and could move only if the earth’s orbit around the sun, or the plane of the whole solar system changed.
Meteorite impacts or solar rotation wobble may have caused an ecliptic offset of about one degree in the human era.
Poles C and Cs are the celestial poles. The northern is currently at the hoof of the loose foreleg or jaw, over the galactic gate between Gemini and Taurus.
The southern is currently nearing Hercules, over the galactic centre (which is between Sagittarius and Scorpius). Both are 23.4 degrees from pole E. These poles are visible in the sky due to earth’s daily rotation, appearing to us as stellar rotation. Most sky maps and grids centre on one of these two celestial poles. Here both are shown, as if the sphere were transparent, just as artistic inspiration expresses our mindprint. The celestial poles slowly swing around the constant ecliptic pole, the path of their former positions here marked out by arrow tracks. Most cultures divide the celestial equator (not shown here) by 18, 24 or 36 bright stars or asterisms (small open clusters or groups of stars) as hourly markers, named decans.
Poles G and Gs are the static galactic poles between and north of Virgo and Leo (above), and between and south of Pisces and Aquarius (appearing also‘north’ if seen on a transparent sphere). The galactic equator is visible as a concentrated band of stars in the sky (shown here by northern and southern oblique circles, offset above and below). The galaxy around us is angled against the plane of the solar system by about 63 degrees. The imaginary axle through the plane of frozen rotation of the galaxy is an invisible concept.
Astronomers cite star and planet positions on a celestial grid, using the current spring equinox (here at the bottom) as a zero point, and either the north or south celestial pole as the highest point (here right or left of the centre). The celestial poles (and thus midsummer) have moved in the last 7000 years or more, since about BC 6300 or earlier, from between the two other poles (when the three poleslay in line, and the southern polar trio likewise).
Earth may have had higher obliquity (tilt) then, perhaps 26 degrees, so the celestial ‘swing’ is ever tightening due to some righting (earth’s spin is moving more upright to its orbital plain). Precession moves counter-seasonal, against the direction of the yearly sun cycle, and also moves the equinoxes (spring and autumn ecliptic crossings) at the same rate in the same direction. The summer meridian (north-south line) by definition follows 90 degrees after spring.
Dates, angles and rates of movement in distant millennia are uncertain, despite scientific assumptions applied in astronomy automation.
Science assumes obliquity to remain within small margins, in a predictable cycle of its own, yet there is some evidence of prehistoric high obliquity. The rate of precession is also known to change, yet assumed in science to remain nearly even. This study does not use astronomical dating older than about BC 3000, but uses relative dating instead, such as ‘Age Taurus 1’. Only one artwork hinting at Age Gemini was found (see a Niaux Ice Age bison herd at theme t15) and none tagged to a supposed Age Cancer, Age Leo or earlier. Celestial polar markers were found only on or near the Leo axis (Age Taurus), Cancer axis (Age Aries), or Gemini axis (Age Pisces). These tags mean only that some aspects of each artistic inspiration is framed by a particular Age or era, just as we tell time by an approximate number of minutes after an hour. Many polar markers are between two of these axes, taken to imply ‘some time before the next transition’, just as we tell time by an approximate number of minutes before an hour. Captions in this study note these in-between markers as Age Taurus-Aries, Age Aries-Pisces, or Age Pisces-Aquarius, implying sometime during the last two centuries before and during an Age transition.
Since Age Aquarius has not yet started at the time of writing, the inspiration of works tagged as Age Pisces-Aquarius refers to the current era. Where a series of celestial polar markers appear in art, like a calibrated gauge, the concept of Ages is usually part of the general theme of a work, yet it could not be read off as a scale, partly since the angles of mindprint in art are not regular, and since inspirational time is outside historic time.
Mindprint structure in natural reflexology
We ‘see’ with our eyes, brains and nervous system.
The geometric centre of opposing nerve links, or symmetrical pole of nodes, is not in the centre of the iris, but offset by about 20 degrees (taking the median ring of the iris, about where the lung, the back and other organs are marked, as a hemisphere (of 180 degrees, and the outer iris as folding out a third of the ‘underside’, adding up to about 240 degrees). Right and left eyes are near identical, but contra-rotating and ‘geared’ or mirrored between the heart and bronchial axes.
Markers for the conceptual celestial poles are uncertain. The horizontal plane of the body, on the Leo-Aquarius axis, tags the orientation of the human iris and body to Age Taurus1 -Taurus2, which is also the orientation and era tag of many rock art works, and of alchemical art in all Ages. However the centre of the human iris, perpendicular (90 degrees) off the galactic polar axle, tags the iris to Age Pisces-Aquarius, our current era. These two transitional era tags may imply that our physical features are oriented outside the history of expressional time (see the Archetypes section). They do not imply that we acquired consciousness in any particular Age or era.
Ages are named after the position of the spring equinox, the season of highest biological activity. Taurus retains some attributes of spring, despite having lost the equinox about BC 1500.
A Babylonian clock
Type 2 Taurus17 Auriga-Orion as a bird on a forked staff, and an arrow. Between 1 Taurus and 15 Gemini, in the galactic gate, is a squatting and backward shuffling dog, instead of a bull or healer, marking spring in Age Gemini-Taurus or Age Taurus 1. This spring dog, sometimes at the opposite autumn equinox, or at midsummer or midwinter, appears in some cultures as a baboon or dog-headed baboon (see the Dendera zodiac in the Decans section). Canis Minor was on the celestial equator in Age Taurus, hinting that a former spring marker was adopted from Gemini, then reverted back once spring had moved into Aries and the celestial equator lay over the eye and rump of Taurus instead.
Precessional markers usually face retro (rearward), to oncoming Ages, as all these figures do, and as hourly decans do. Retro figures are usually monstrous versions (see decans at themes 8 and 12). The boundary stone may have been a public or court clock, perhaps marking sunlight hours by the shadow line (terminator) along its conical face. Its three polar or planetary markers on top could tag orientations for spring, to one extreme for summer, back to the spring position in autumn, and to the other extreme for winter. A conical dial requires technical thought and some trials, perhaps by technocrats who, like astronomers today, do not care for artistic or mythological images. When artists have free reign, the mindprint sequence and structure overrides the conscious symbolic programme, or at least survives the commission.
This work is a zodiac in the sense that clocks have divisions that could be decorated with concepts or constellations. The artist probably understood the given icons as composed by convention, as modern astronomers do. Like all artists he probably did not know that inspiration contains a sequence and geometric structure independent of conscious meanings or symbols. The major figures here are defined by shrines or altars, some bearing omphali (cones with rope patterns), each a navel or solar plexus of a place or direction. These altars could mark former Ages, places, hours or months, but are initially, and ultimately, subconscious ‘concepts’.
If updated today, the spring dog, baboon, bull, ram or horse would sit between Pisces and Aquarius, over the spout of the type 4 Pisces Cetus (Whale) monster.
The elephant trunk, sleeve, knife, axe or lamp over 3 Aries, expresses Andromeda and Triangulum, confirming the Hindu motif of the same shape (see Indian churn groups at theme 15).
Type 11 Virgo Bootes is a circumpolar U-shaped staff top with two heads. The celestial pole is on the Bootes jaw of the staff, on the head facing 12 Leo, marking midsummer as freshly arrived in Leo from Virgo (by precession), confirmed by the Geminian spring dog arrived at 2 Taurus (end of Taurus in seasonal terms). This spring dog has yet to shuffle over the bird staff and arrow group, implying that the Pleiades marked the idea of spring even before it had hosted the spring equinox, unless the inspiration or the commission was conservative.
Other celestial polar markers provide for future Ages and aeons. Some are in the claws, beak, legs and tail of Leo-Cancer Ursa Minor retro as a retreating scorpion. The bears make good scorpion concepts and stick figures. In Age Taurus they may have figured the popular Babylonian Scorpion Woman, summer to a Scorpius autumn.
The polar trio adds markers to the polar gauge, confirmed by the crosspiece of an ankh-shaped club adjacent to the type 5 Aquarius spear. Archaeological dating favours the earlier, Age Taurus dating, making this one of very few works in this study to speak the ‘old heaven and old earth’ mindprint grammar.
A lotus snake rain bag
Type 2 Taurus17 Pleiades as a rain priest holding a rain flower bulb enclosing a snake, in a figurative linear set, doubled and mirrored by a heraldic linear set (Egyptian Dendera crypt north mural with lotus bulbs. E Chassinat; Dendera temple. Mindprint analysis by Edmond Furter). The kneeling posture is typical of Perseus, one arm upward to control rain and a Medusa head in a bag. 3 Aries is a hand and absent head of a djed pillar with arms raised, more typical of its opposite 10 Libra, but with a long neck as usual. Taurus and Aries sometimes flank the mystical basket (see a Roman sarcophagus at theme 11), here the djed pillar, as in the Osiris, Nebuchadnezzar and Moses legends of a trunk coffin or basket.
Type 10 Libra is marked on the eye of his snake staff. His own head appears after 8/9 Scorpius (neither confirmed by opposites), thus he stands in for 8 Scorpius Ophiuchus (Serpent holder). 1 Taurus as a knifeman defends 15 Gemini as a deceased soul against the Apop snake at the gate, for which the bulb snake stands in. In a rare coincidence with constellation shapes, or visual feedback (conscious recognition of a similarity between myth, icon and art), the bulb’s shape and angle expresses Taurus Hyades (Bull head), from its V-shaped face, along straight horns, to the stars Taurus Auriga alpha, El Nath (Horn), nicknamed Nail of the sky (Alpha Aurigae in astronomy), and the prior tip of Orion’s club. If the reclining horns are connected by a semicircle, as here, and as in buccranium solar discs, the rounded tip touches the gate. This gate is the annual crossing of the sun over the galactic river, nightly peril in mythology, and one of the four structural points of cosmology. The jaw end of Taurus Hyades extends into a stem, sometimes figured as a chin rest (see a forked staff and arrow in a Babylonian engraving at theme 2), down to Aries Cetus tail. The lotus stem bends back around to the 3 Aries djed pillar base, tying up loose ends of the inevitable disjunction between conceptual order, decanal order and constellation order.
The bulb snakes, of which some technological assumptions such as ‘ancient lasers and DNA manipulation’ have been elaborated by some authors, are no more enigmatic than thousands of surreal rock art works. The bulbs are conceptual and spiritual mechanisms, ophiotauri (cow snakes. See an animal with entrails for a head with bee people at theme 8). Healers describe rain animals of varied shapes with shiny skins, lured in dreams from waterholes, led by sky ropes like zeppelins, and gently milked (Bleek, cited in G Spiller; Origins films, DVD. Wits University). These visionary shapes, though resembling hippopotami, are all named ‘snakes’. Rain animals are controlled by healers in the guise of 1 /2 Taurus Auriga (Artemis), Orion, or Perseus (see the Narmer palette at theme 3 Aries18).
Their opposites and cardinals also sometimes appear as snakes, dragons, bags or churn groups (see 8 Scorpius Ophiuchus, Serpent holder, or Horus and Set turning the pneuma lung pump by lotus flower stems. See Indian lotus flower churns with snake ropes on lotus petals. See Mexican tree pillars. See a Fafnir ribbon-dragon and braided tree at theme 3 Aries18).
3 Aries in the upper register is a cartouche under Maat ostrich feathers, usually identified with its opposite, 10 Libra. The axial geometry is compacted by the linear arrangement, typical of decans with calendric, pantheonic and theological elements.
Repetitive upper register emblems or hieroglyphs are place holders for emerging attributes. The Dendera crypt south mural is near identical, but with a double imprint and two antithetical rain bulbs. The artists as usual were unaware of the extent of the underlying sequence and pattern in nature and culture.
Celestial polar markers are uncertain, but the horizontal plane between the 14 and 15 axes, tags the inspiration to Age Aries-Pisces, incidental with the Ptolemaic era.
Fish people as swift people
Type 1 Taurus16 Orion as a bird, fish or swift person (Easter Island, Hau Kota boulder engraving. Bradshaw Foundation.
Mindprint analysis by Edmond Furter). For lack of figures, the artist added articulated (linked-in) fish in the tails of other fish. A figure extending below the 4 Pisces human feet is implied by a tail remnant below, hinting that the human emerged from a seal shape. The work is on a 3m boulder, but in a compact style, comparable to carved palettes (see fish people in South African beach pebble palettes at themes 8 and 14). Type 4 Pisces resembles Rapa Nui (Easter Island) bird people, developed in isolation from other cultures, yet these figures are recognisably swift people, some with bird beaks, figured as swallows, penguins or seals on other continents.
Galactic poles are remarkable for marking an isolated human head (left) and a human hand. Celestial poles are set by the nose and forehead of the octopus person, and a probable vertical plane, to Age Aries-Pisces, typical of palettes (see theme 3) and of work of the last centuries BC, yet this work may be Age Pisces, and the inspiration thus retro. Another identification sequence is possible, also typical of palettes as doublesided, flip-over or contra-rotating expressions of the two spheres of our eyes, hands, brain and perspective.
Type 5 Aquarius20 as Nelson Mandela (Mexico, Cuajiniciulapa Mandela Day festival mural, by South African artist Eljana van der Merwe and a Mexican university group. Round hut photo rollout by Eljana. Mindprint analysis by Edmond Furter).
Aquarius often appropriates attributes of adjacent types (see a USA Piedra Pintada hand-drawn rock art copy at theme 5 Aquarius20) and lends some attributes to other figures. Mandela is a Xhosa, an eastern Bantu tribe with some admixture of Bushman genes and language. He is also the integrator of the highly diverse South African nation, with a half Portuguese wife (see a Bushman man and Portuguese woman as Adam and Eve in T’Kama Adamastor at theme 3 Aries18) thus Mandela is a ‘painted’, ordained figure, incidental with attributes of the type, and the South African rainbow flag. As herder, lawyer, chief, terrorist, prisoner, negotiator, politician, president, Nobel Peace Prize recipient, culture hero and icon, Mandela expresses 5 Aquarius20, noted as priest, baptist, undertaker, shape-shifter and angel in the Tables and other images. Popular figurines feature Mandela with prior president FW De Klerk, who expresses the 4 Pisces19 attribute of a twin (see Tarot trump 19, distinct from the unequal twins of 15 Gemini). Here, 15 Gemini is a large mask or face, as it often is (see Salvador Dali; ‘It just popped up’. Tyhpe 1 Taurus16 Orion is a tower, as it often is. 11 Virgo is probably on the Mexican woman’s womb, cropped off the photograph (the artist said she was not intended to represent Graca Machel). Celestial poles on Mandela’s ears (not usually included among limb joints), and the horizontal plane, tag the inspiration to Age Pisces late, incidental with his implied third eye and the implied sun behind him as Pisces (see Tarot trump 19, Sun), and furnace themes at the lighthouse and hut. Archetype does not respect the artist’s conscious mind or agenda, but uses both to imprint itself. It also appears in commissioned works and collaborations, as this work is reported to be.
Compare this artefact with Egyptian cosmetic palettes with bowls, as in the Hunters palette at theme 8.
Type 13 Leo’s opposite at 5 Aquarius21 is a flamboyant figure in active posture as usual, and 5 Aquarius20 is a stylised waterbearer. Leonine and Aquarian types are doubled, as they are in mindprint art, but Taurus and Scorpius types are not doubled, hinting at jumps between concentric registers.
Type 3 Aries18 is an antithetical dragon or snake, as usual, but its opposite 10 Libra is a man under a horizontal angel, more relevant to the concept of 3 Aries Andromeda and Perseus than 10 Libran attributes. In turn, 2 Taurus is a dragon with a long tail, more relevant to its opposite 9 Scorpius, which figures a hero with one arm in and one out, a timid 2 Taurus Perseus.
Thus some opposites are swopped, and parts of the sequence jump by 180 degrees, or parts of the sequence are flipped around.
Celestial polar markers on a hand and feet, and the likely horizontal plane, tag the inspiration to Age Pisces.
A rare kind of tyhpe 15 Gemini in Australian rock art
Australian Elivna pavement engraving (ATNF. CSIRO. Mindprint labelling and axial grid added by Edmond Furter). Type 15 Gemini [ge15] is probably a kangaroo or wallaby with a pouch (the archetype has a bag in 21% of expressions worldwide, including some marsupials).
Dingoes in Australian rock art
Australia does not have large felines, so dingoes sometimes express type 13 and/or 12 Leo (which is/are feline in 14% of artworks workdwide). here, 6 Capricornus could be a dingo, or dingo hunt quarry, or skin.
Note that the characters, and their attributes, and sequence, and relative spacing, is from archetypal inspiration, not from constellations.
Thus the sub-type or decanal type 15 Gemini Canis (Dog), is sometimes a dog, or with a dog, or attacked by a dog (best known as the Fool emblem, see Tarot trump 0, Fool, and Tarot trump 15, world creator). See myths of Gula.
However small canines also often express 14 Cancer Ursa Minor, or rarely its opposite 6 Capricornus (as it seems to do here, although it could be a hunt victim in stead of hunter in this position).
Australia does not have large felines, so a dingo in rock art may express type 13 and/or 12 Leo, with its heart instead of its eye on the axial grid in 85% of instances.
I have found an Australian rock painting where a dingo hunting a kangaroo expresses 13 Leo, with its heart on the axial grid. I do not include it here, since it is in a blotchy ‘late white and red’ finger-painted style.
The types are in their standard sequence, with their eyes (with the two standard exceptions) on an invisible axial grid;
3 Aries has long and bent arms instead of its more usual long or bent neck (42% on average worldwide).
2 Taurus as a large spirit or rain woman.
1 Taurus as a hunting dingo, or a kangaroo baby
15 Gemini as a kangaroo, white (often a white face), mother with a pouch (21% with a bag on average worldwide, rarely a kangaroo)
14 Cancer as a person
13 Leo as an animal (14% feline, but Australia does not have large felines?)
12 Leo on the person’s heart (85% heart worldwide. 10% with a weapon, impossible to check here)
11 Virgo on the person’s womb (87% womb)
10 Libra as a turtle or a skin, arms in V position (53% arms in V or W posture)
9 Scorpius as a jumping man (sometimes with arms in V position, sometimes in trance)
8 Scorpius as a large man (often large)
7 Sagittarius as a person or half-animal or skin (25% bag)
6 Capricornus as a dingo or a saurean.
5 Aquarius as varicoloured (44% on average worldwide, here it has lines of dots, hidden by the label) and large (24% large). Both its eyes are on the axial grid, opposite two Leo types.
4 Pisces as a fish (rarely), and a person (sometimes doubled).
The ‘ecliptic pole’ is at the axial centre, perhaps on a jaw (26% limb joint). The ‘celestial pole’ is on a kangaroo paw (50% limb joint). The ‘celestial south pole’ is on the jumper’s paw (50% limb joint).
These markers place ‘summer’ in Gemini, thus spring in Pisces, or Age Pisces (the last 2000 years), the era of the work. Most art is expressed in the era preceding the work.
Two spheres, three paths
The type 15 charcter is damaged and indistinct, but the position of its head is clear. Type 14 Cancer is a giant emu with rearing neck, egressed away from, instead of ingressed to the centre as usual.
Elongated or split canvases seem to induce double imprints, usually separated by a tree or rope (see a USA Utah image at theme 5) or cleft (see Chauvet cave, and Trois Frere cave at theme 5 21). One of the galactic equators in each sphere is shared, as usual in double spheres touching near the 4-5 Pisces-Aquarius polar axle, or the opposite 11-11-12 Virgo-Leo polar axle.
To visualise the double sphere, focus on the two irregular primary equators, which are drawn in angular, point-to-point style for clarity in this study. The language of dreams and inspired art is a compromise between subconscious structure, myth, images ready to hand, and conscious logic. Celestial polar markers are uncertain, but a headdress and the vertical plane in the left sphere, and a hand in the right sphere, both tag the inspiration as Age Pisces-Aquarius, our current era.
Australian world man
Reputed Australian rock engraving (posted by Andrew on Imgur and on grahamhancock.com, here with tentative labelling by Edmond Furter). The figures are probably without exact spacing in the sketch. Curved surfaces add to that problem at the scale of 10m, though not in smaller works where the artist could remain in one position. Relief raises the possibility that it is modern pseudo rock art. So does the copyist’s interpretation of the large outline as a map of Australia.
However, all inspired art probably expresses mindprint, even if the copyist made up the image. The work has some great cosmological elements. Here is a tentative typological identification of the figures (with cosmological structural points in brackets);
5 Aquarius as a man in a world map, active, horizontal, large
4 Galactic south pole on his foot, limb joint)
4 Pisces as a fish
3 Aries as an animal
2 Taurus as two fish
15g (galactic gate as a gateway)
15 Gemini as a man spearing or netting, smiting, ropes, with a bird decan
14 Cancer as a fish
13 Leo as a fish, large, mark on heart
11p (Galactic pole on turtle leg, limb joint)
11 Virgo as turtle, probably female and pregnant
10 Libra as a fish with a prominent fin
9 Scorpius as a fish with a long tail
7g (Galactic centre as map features?)
7 Sagittarius as bulge? Often a bag or juvenile
6 Capricornus as an animal, egressed from the centre.
If all six axes crossed in one point, that would express the analogous ‘ecliptic pole’, and confirm that the artist did the usual inspired triple-layered magic that artists do. The galactic polar axle also crosses there, as if it were one of the three axles inside a transparent ‘flattened beach ball’.
The celestial polar axle could be on the horizontal plane of most of the animals, and thus near the 15 Gemini -7 Sagittarius axis, which is midsummer in Age Pisces, our current age, with the spring equinox in Pisces. The prominent 5 Aquarius may indicate the end of Age Pisces, as in some recent artworks where the celestial axle lies between the Gemini-Sagittarius axis and the Taurus-Scorpius axis.
The Pisces-Aquarius transition date I tentatively calculate as 2016 in the book, based on an eclipto-centric planisphere (a star map centred on the ecliptic pole, or our annual orbit, not our daily rotation as most star maps are), with constellations (not signs) divided in a repeating 20 /30 /40 -degree sequence (not each 30 degrees). That structure underlies cosmology, myth and art, since all are archetypal.
Artworks keyed to the temporal framework of transitional eras, fluctuate between two Ages. However most artworks are framed by the preceding Age, as religious art during Age Pisces was mostly keyed to the end of Age Aries. A clear image of the engraving would probably offer more ‘hard points’ of typology and spacing, and may overrule this tentative identification.
The semi-geonetric figure on the side (below the imprint) is a ball person or therianthrope, common in American rock art.
Regarding conservation, all art is valuable due to its various therapeutic functions, yet dispensable, since it is infinitely recoverable.
Type 15 Gemini as four ancestors with a skull and an arm (Mexican seven caves in Mt Mashu of Hopi myth. Wikimedia. Mindprint analysis by Edmond Furter). The skull is a kind of white face, typical of 15 Gemini. The arm totem may express the concept of smiting a twin or rival, or double-bodied, as multi-armed principles in Indian art do.
The churner on the mound in a canine skin is in the gate, between the caves of 15 Gemini and 1 Taurus, thus a type of Gemini Monoceros and Gemini Canis (Dog), where a churn group is often figured. The curved mountain sigil or glyph on top expresses a secure homestead with a blind entrance, as in the Egyptian hieroglyph for house. Chinese feng sui has a similar shape as an ideal home site. See a hill cave and gate in a Rosicrucian emblem at theme 6, and in movies such as Stargate.
Cultures and scientists perceive archetypal vision as tribal legend or history.
Celestial polar markers on an elbow and a staff tag the inspiration as Age Pisces, our current Age.
Overworked mirror of art and nature
Type 6 Capricornus as Mercury in a fount on a planetary hill, over a cave of mystical marriage (Cabala as mirror of art and nature, Alchemia, 1615. Mindprint analysis by Edmond Furter). The mindprint axial structure is not symmetrical to the artist’s conscious design structure, confirming that archetypal attributes and axes are subconscious, despite intensive conscious symbolism in the overworked scramble of alchemy. The Rosicrucian emblem reads to its intended viewers as a variation on a standard allegory of the mystical marriage of Christian Rozencreutz, with seven steps of alchemy under seven planets. Even standard astrology is scrambled here, but the subconscious structure is unaffected, as usual.
The mindprint sequence ropes in four personified planets, a phoenix, three zodiac figures from a planetary ‘house’ sequence, two alchemists and two rabbits. Type 6 Capricornus is a Mercury under Gemini, with some of its planetary attributes relevant to the type. His kicked-out leg is the Venus part of his combined sigil (see dance illustrations in the Hypnerotomachia Poliphili, discussed at type 2 Taurus17), his feathered headdress is the Mars part of his sigil, his fount a bath for planets passing archetypal Capricornian midwinter in Age Aries.
The artist and the tradition did not consciously understand Mercury as potentially a multi-headed or horned Pan, Paris or Capricornus.
5 Aquarius21 is a phoenix in active posture as a dappled world spirit.
The moon and Jupiter are not figured in the mindprint sequence, yet Jupiter stands in for the cosmic tree on the Cetus-Pegasus (Whale-Horse) polar axis, supported by Aquarius as a sea horse centaur. 4 Pisces is a Saturn as temporal ruler. 3 Aries is a Capricornian goat instead of a dragons pair, a common ambiguation. 2 Taurus is a waterbearer in error, yet a kind of rainmaker. 1 Taurus is a blindfolded querent, following nature and instinct to the hidden work, thus a healer and hunter as usual.
15 Gemini Canis is a rampant rabbit instead of a dog. 14 Cancer is a rabbit entering a hole in the mount of earth, instead of a bear, lynx or bees. 13 Leo finds a route to the heart of the mount, but as difficult as for a camel to pass through the eye of a needle (see a camel eye on a ‘needle’ axis in Arabic rock art at theme 8, and cattle in a U gate at theme 3). 11 Virgo is a contradictory Taurus, but is pregnant as usual. 10 Libra is a pair of scales on a staff. 9 Scorpius is a Venus, but with arms up in the regular W shape of the 9-10 combination. 8 Scorpius is a Mars. Type 7g Galactic Centre is at the foot of the Sun, which is also figured by two eyes on a sun face on the dome, one of which marks the ecliptic pole.
7 Sagittarius is a bauble on the sun’s staff. Coincidences between alchemy and mindprint derive from their respective holographic properties as subconscious expressions of archetypal order.
Inspiration favours prepared minds, particularly of students of nature, but not necessarily of learned minds.
The supposed secret tradition of alchemy is based on chemistry, thus on glimpses of natural structure, a means to transformation and an end in itself.
Manifestos, tracts, laboratories and institutions are perpetually distracted from the goals of transformation by conventions and technology, as the consciously symbolic layer of this work is distracted from natural structure.
The galactic pole is on a corner where four elements meet. Seven celestial polar markers on the king’s shoulder, elbow, hand and staff, and on the queen’s trefoil and jaw, form a gauge calibrating millennia through Age Taurus-Aries, Aries, Aries-Pisces, Pisces, and Pisces-Aquarius. The vertical plane tags the inspiration as Age Aries-Pisces, the most recent Age transition, but about 1700 years before the work. As in all mindprints, only the wheels of the mill of inspiration could grind this fine.
An Age Aquarius world tree
Type 5 Aquarius21 as an underworld guide (Lapp drum skin drawing with ritual celebrants. Mindprint analysis by Edmond Furter). The drum cosmogram healing tradition had updated its visions with Christian elements, but the cosmic tree remains rooted between 4 Pisces and 5 Aquarius. Here the flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era. The ritual officials are named Juksakka, Sakarakka and Madderakka. Their fish pond or ice fishing hole has an astronomy counterpart in
5 Aquarius20 Pegasus, here displaced to the mystical basket position (see a Roman sarcophagus at theme 11), the only sequence error in the work.
See Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill (De Santillana and Von Deschend; Hamlet’s mill).
10 Libra is a tree or branch, as it is in a South African Amatola work (see theme 5), but branches are more usual at its cardinals, 14 Cancer or 6 Capricornus (see Egyptian and Mexican palettes, and the Externsteine carving at theme 4).
This study adopts the principle that there is no limit to what artists, and thus all people could subconsciously know; and that language, art, music and conscious or semi-conscious symbolic codes are all inadequate to fully express human experience.
Individual experience could only partly comprehend nature or archetype. Display of art supports the human need to express, create, celebrate and share inspiration, cast in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, are as
adequate or inadequate as any myth or art could be.
Celestial polar markers on a calibrated ladder, as a gauge, tag a series of Ages, up to the hand of the central celebrant and the hand of World man (and 5 Aquarius21 stand-in) at the Age Aquarius start, perhaps an error due to the offset galactic
register (level), or an inspiration of our immanent iconographic future. This is one of very few works in this study probably tagged to Age Aquarius.
Dogs of a jungle paradise
Type 10 Libra as a canine and wheel (Mexican dogs palette. Mayan culture. Mindprint analysis by Edmond Furter). 10 Libra’s position here is unusually ambiguous, and so is its opposite 3 Aries18 as a coiled bag. The 10 Libra wheel lies between itself and 9 Scorpius (see a basket lid with Buddha’s death at theme 8).
Wheels or mechanisms tend to appear opposite the mystic basket that emerged as an occasional type 2-3 border feature in this study (see a marble sarcophagus at theme 11). The basket is expressed here as a coil or pack on 2 Taurus’s back. Opposite, and antipodal (spherical opposite) to the basket or rope of the Medusa head, which is 23 degrees north of the ecliptic, are the Lupus tail and Hydra tail, 23 degrees south of Libra. Thus the lid is lifted on part of the mystery of the Serapis, which had temples in Greek, Roman and Egyptian classical cities such as Ephesus. UFO theorists may study these icons for clues on unidentified vortexes, lids, snakes, wolves, black dogs, centaurs, healers or scaly teachers leaning on two sticks, that tend to appear in art in this particular conceptual position.
Telescopes are less useful in reading the human subtext. Spring and autumn have long since left Taurus Pleiades and Scorpius, yet the eyes of Taurus Perseus Algol Medusa mystic basket remain fixed. Its holographic opposite at the 9 Scorpius Lupus tail and Hydra tail, or cysta revelata to coin an iconographic label, also seems fixed. In Hindu and Buddhist theology, turning of a pearl or marble initiates the dharma wheel, or layers of law. The pearl of conceptual motivation also applies to 9 Scorpius and the adjacent 10 Libra, lawgiver and wheel turner, who share Lupus as a decan. Some mythical doors are also identified with 10 Libra (see wheel-shaped Mexican caves at theme 15). The central disc may also figure an eclipse (see theme 3), caused by a spectacular natural pair of marbles or eyes. Central woven vines or bark ropes may indicate an ayahuasca brew as trance inducer.
Celestial poles on a knot and a jaw, and the vertical plane, tag the inspiration as Age Pisces late, our current era.
Ode on an arrowhead
I am preparing some regional editions of the book Mindprint, to better represent the cultural context of some of the thousands of African, American, Near Eastern, classical and modern artworks and rock art works that subconsciously, but eloquently express our cultural ‘grammar’ or structure. These editions will also feature some classical and modern alchemical emblems and texts, and more examples of the expression of cultural structure in myth and literature (the book already has a chapter on mindprint in a Mishnah verse), and some more on the implications of the identification of subconsciously expressed archetypal structure for various sciences.
Here are some of my initial notes, followed by an alchemical poem of my own.
The first recorded use of the term mindprint is by Thoreau, who wrote in his diary, on finding an American flint arrowhead, that it was an indelible “mind print” of man, along the erased footprints of men. Loren Eisely developed the term, and wrote; “Mankind does not have enough evidence to determine exactly how humans came to be.” In The Immense Journey, he added, “…as though we stood at the heart of a maze and no longer remembered how we had come there… the human version of evolutionary events [is] perhaps too simplistic for belief.” Eisely also noted the illusions of science in The Firmament of Time: “A scientist… remarked that past generations lived and died in a world of illusion. The unconscious irony [is] that this man assumed the progress of science to have been so great that a clear vision of the world without illusion was, by his own time, possible… when Mendel was just about to be rediscovered… Science may have become misguided in its goals… of setting up artificial worlds.”
The mindprint rhyme
Crab or goat, snake or lynx, man or bird play numbered parts,
in the grammar of artists’ eyes and hands,
compelled to think and see and print our mark.
First and second a hero or bull-snake twists to juggle rain,
from a small bridge where swifts spin to a buzzing tower.
Here a basket of mystery may bear a monstrous head.
Third a meek dragon or sheep bends its neck to shield a queen.
Fourth a sun king squats in flanking frame, or princes play behind a garden wall.
Here a pillar rooted on an elephant or whale marks the current retreat of our spring.
Fifth an exuberant motley priest stretches benediction or judgement to the world;
fifth again, for good measure, may trot a horse,
where a number repeats to reduce the count that accounts for all things.
Sixth strains inward or away an anointed sacrifice,
or in merry rampant dance looks fore and aft, counting appointed time,
its partner opposite likewise near or far from the core.
Seventh in a baggy skin grows a centaur head.
From under a large bridge our limb joints churn to their places in the sphere.
Eighth or ninth a strong healer bends his horns in healing pain.
Tenth a lord of nature balances the ways of the world on a staff or wheel.
Eleventh a pregnant woman nurtures an unborn eye in her womb.
Here a baby rooted on a pillar or chalice marks the current retreat of our autumn.
Twelfth or thirteenth falls or prances a lion,
his claws and fangs to feed the eye in his hungry heart.
Fourteenth strains inward or away a small figure counting time,
its opposite partner likewise near or far from the core.
Fifteenth and at the start, a moulder ropes souls to the soil
and smites the state of mind to order.
Central to the ragged round of sixteen eyes, lies the hub of their radial grid unseen,
bearing eight axes, and the eternal axle anchoring two wide spheres of limb joints,
bearing also a retreating axle between two stray joints.
Our three axle pairs anchor loops of eyes, and joints, and limbs,
as wheels hinge within wheels.
Steadfast as our mindprint are also the stars, in ritual step with myth and mutant history.
This is the grammar of artists’ eyes and hands,
compelled to think and see and print our mark on our place
in the mind and eyes and hands of the imprint of archetype.
-Edmond Furter 2015