Here are more examples of structural art analysis using mindprint; a set of sixteen types with their frequent attributes; in their standard sequence; with the eyes of typological figures on an axial grid. All art containing more than eleven characters express this structure, without the conscious knowledge of artists.
The examples here respond to some comments and queries on posts on http://www.edmondfurter.wordpress.com and on http://www.mindprintart.wordpress.com, and on articles and comments on grahamhancock.com (author of the month September 2015), and on articles in the anthropology magazine Expression (editions 9 and 10, published by Atelier Etno).
An example of the standard typological sequence and geometric structure, present in all art of all cultures), in a seasonal, clockwise direction, in formal Egyptian funerary art. The galactic centre between types 7 Sagittarius and 8 Scorpius, both as hieroglyphic figures, is a canal vortex (see hieroglyphs as figures, also in Babylonian and in Mexican art).
A sand mound formed by water expresses the idea of becoming in Egyptian theology. Giza waterworks, including the Sphinx reservoir (see Robert Temple) and lower shafts (see Edward Malkowski) incidentally express the concept of the galactic centre and four galactic corners. Many Egyptian sites had symbolic water features, as in Peru, India, and other parts of the far east.
The sun-in-horizon glyphs at Leo and Cancer, express midsummer, the birds express the celestial pole near Ursa Minor, and their ponds may express summer, perhaps a rare incidence of conscious use of some calendric parts of the subconscious structure of cultural expression. The pegs at Cancer may incidentally express solstice or precession calibrators. Some elements in afterlife scehes, as in duat hour scenes, polar groups, decanal groups, and tree of life groups, are traditional, some are updated, and some are re-arranged by the individual artist. Stock artworks were seldom if ever copied by mechanical means, yet beneath their apparent differences, and beneath their apparent stock elements, is a rigorously identical set of types, in standard sequence, with their eyes on a standard axial grid, and some limb joints in standard polar positions.
The galactic poles are both on the edges or ‘elbow’ banks of akhet horizon hieroglyphs, representing desert hills in a cross-section of the Nile valley. A celestial polar marker on the elbow of an extra, polar type 15 Gemini, tags the inspiration as Age Aries-Pisces, but his hand tags the earlier Age Aries, and the foot of a benben bird on an obelisk provides for the future Age Aquarius. Artists are not conscious of most of the aspects of the detailed iconographic hologram that they express.
Bull foreleg as Ursa Minor and celestial pole is a semi-conscious symbol
The celestial pole star in the Senmut ceiling is at the hoof of a severed bull foreleg, or ‘poing’ stick skewering some dots, as the Ursa Minor tail, calibrator of recent polar positions. Yet this is not an feat of astronomy, but a feat of semi-conscious structural expression.
The bull leg is speared by an extra type 10 Libra Bootes, alwo with his arms raised. His spear is part of the Ursa Major severed bull foreleg (related to the former spring bull, since it calibrated the precession of the celestial pole, and thus of the summer sun, at the time). The two forelegs are conflated in myth and art, though usually separate constellations.
The polar decan behind the bull leg is a nominal Gemini, which is often the rope puller, re-creator, smiter, and ancestor. Gods are not enthroned on the poles, however some polar attributes are transferred to the Taweret group in the lower register, which doubles as the seasonal constellations Cancer (eye of crocodile on Taweret’s back); Leo (Taweret’s heart, see the note on ‘eyes’ or lucida below); Virgo (unseen eye in Taweret’s pregnant womb); Libra (eye of a duplicate Bootes with his arms up); Scorpius (eye of a rampant crocodile); Sagittarius (eye of a young crocodile curled up).
The Senmut ceiling has a constellation and seasonal cycle split into two. On the upper register appears the rest of the ecliptic (zodiac) constellations (not ‘signs’, which the decans partly are, hence their perpetual confusion). Some ambiguity here due to some extreme variants in typology, indicate that the upper register may have been designed for the other side-wall of a barrel vault, and was thus inverted and stands in retro sequence.
However they continue the seasonal sequence; Capricornus (eye of a crane); Aquarius (eye of a turtle); Pisces (eye of a boatman); Aries (eye of a hieroglyph, a weak point in the visual expression, however it’s determinative is one star, common for delta Arietis); Taurus Perseus (eye of a backwards-looking boatman, identified by seven stars as standing on the Pleiades, and by three stars as adjacent to Orion); Gemini (star on an axe-shape, perhaps Canis Sirius).
Some of the decanal figures, and some hieroglyphs, confirm the identifications.
The axial centre confirms the subconscious spacing (I could not find any reference to any artist or school being aware of the mindprint structure in art).
The polar configuration is not marked by ‘gods’ or archetypal principles, but by structural features, usually limb joints; the galactic pole is on Taweret’s jaw (a frequent polar marker), the galactic south pole is on Pisces’ foot. The moving celestial pole was on Dinwiddie’s rear foot, moved to his front foot, as confirmed by his vertical plane, the other figures’ horizontal plane. The celestial south pole was on his elbow, moved to his front shoulder.
The celestial poles, and thus solstices, here lie in the wide gap between Cancer and Gemini, indicating a broadly Age Aries framework. In subconscious anticipation of moving closer to Age Pisces, and thus to a Gemini pole and summer, the bull foreleg hoof offers a (formerly forthcoming) limb joint marker, opposite Dinwiddie’s hips as a limb joint marker for the celestial south pole.
Art, myth, ritual, and crafts like astrology, all derive from archetype. 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.
My research results had good reception among anthropologists and esotericists (who would not agree to being mentioned in the same sentence).
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 (Edmond Furter; Mindprint, 2015, lulu.com). Mindprint is not a zodiac, it appears in all cultural media, in all cultures and eras, has never been consciously recognised, and does not evolve.
Some zodiacs or star maps subconsciously express mindprint, while motivated by a mixture of calendric, charting, astronomical, mythical, theological, political, decorative, and other conscious aims.
The decans in the lower register, all with red spheres on their heads, perhaps indicating lunar stations (hours), do not stand for much else, as usual. One of the few decans with blank spheres on their heads, doubles as a second Cancer (its eye is on the same axis as the Cancer crocodile’s eye).
The Senmut types, as in all artworks, confirm one another in five ways;
 by attributes (eg raised arms is typical of type Libra in 53% of artworks, etc, see the statistics in my article);
 and in sequence (eg type Libra is between type Virgo and type Scorpius);
 and in axial spacing (eg type Libra is opposite type Aries);
 and in the exact spacing of their eyes (type Libra’s eye is opposite type Aries’ eye, with two constant, standard exceptions to the ‘lucida’; type Leo is spaced by his heart in 85% or artworks, and type Virgo is spaced by her womb 87% of artworks);
 and in the polar structure, based on limb joints and the horizontal or vertical plane.
I like the Senmut ceiling (which I tested for mindprint in response to Tbird and Audrey’s posts), for clearly demonstrating that traditional astronomical programmes, commissions, and artists, concentrate on consciously political and theological intentions, and on some semi-conscious symbolic conventions.
Yet the same work clearly expresses the universal structure of culture, perception, and nature, using the same predictive and testable criteria as in the book, and in the article. Mindprint analysis of highly detailed cosmological features, reveals how the assumed unique art for or by the talented commoner social climber Senmut, under queen Hatshepshut, and the assumed unique Egyptian culture, repeats the same tupos (seal or imprint) as the art of all cultures and all ages.
Art demonstrates that the origin of culture is archetypal, not astronomical, astrological, mythical, religious, political, calendric, decorative, incidental, etc. All cultural media play some roles in mutating expressions and styles, but the core content is as hardy as the periodic table of chemistry, of DNA.
Like DNA, even slight changes in some attributes, in sequence, or in spatial positioning of ‘chromosomes or acids’ would be fatal. There are other Egyptian ceiling examples in Mindprint on p175 (Seti 1, and Ramses 6); Egyptian art on pp 204, 205, 210, 215, 217; Egyptian palettes on pp 170, 184; and political murals on p166 etc, Egyptian jewellery on p224, 227.
All complex artworks (containing eleven or more figures, or characters) express the complexities of natural structure in surprisingly minimalistic and ‘innovative’ ways, beyond the conscious capacities of the artists. The same goes for each of the other 200 artworks in the book, and about 543 tested since, from all the known cultures in and before history (see some examples in my article at Grahamhancock.com Author of the Month September 2015, and some discussion in the context of archaeo astronomy).
The same goes for a pseudo-Egyptian painting by an amateur South African artist (Mindprint p189). Artists do not have to be ancient, or Egyptian, or have big and commodified names (many of whom feature in the book), to express archetypal structure in Egyptian style, or in any style.
Styling is pseudo culture. Art, language, ritual and all of culture, is first, foremost, and in the final analysis, structure, clothed and disguised in conformist fads.
I have avoided including zodiac artworks in the book, to escape the apparently ‘logical, common sense’, but false impression that mindprint may be ‘based on the zodiac’. The opposite is true; nature, seasons, ritual, myth, art, emblems, zodiacs, crafts, such as astrology or psychology, and everyting cultural, expresses archetypal structure.
None of these media derive from any other, or require the pre-existence of any other, although some cultural media sometimes illustrate the conventions of other cultural media at a conscious level. However all cultural media are subconsciously standardised, and sustained, by compulsive structural expression. We are structural creatures.