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.
The Narmer palette front demonstrates subconscious expression of archetypal structure in a decanal set, in stock Sumerian and Egyptian pre-dynastic style. Here is the standard list of the types, with the characters in this artwork, in seasonal sequence from the former spring point, with its analogous hour decan.
Artworks express three planes of space and time. Perception and culture are spatially ‘projected’ on the ecliptic plane, leaving the celestial and galactic equators oblique. There are no degrees of difficulty in the miracles of nature and human nature. Our myth map reveals five layers of structure in artworks (demonstrated here in De Cosimo’s Discovery of honey) and in building sites.
In the Dendera zoidac, the sixteen typology axes are subconsciously curved into a vortex, to link the eyes of northern, ecliptic and southern decans, to galactic or determinant characters in the border. Zodiacs usually do not express the archetypal sequence, nor the axial ocular (eye to eye) structure. This vortex indicates inspired structuralist detail, beyond the needs of astrology or astronomy. Here is another timeless record of our collective need for subconscious structuralist calibration, enabling the collective therapy of expressing who, what, where, when and how we fit into nature, and ultimately into archetype.