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Mindprint art examples

Inspired structure in Campin’s domestic Annunciation artworks

Robert Campin’s original Annunciation scene of St George and Mary, and his second commissioned version with its two wings added by an apprentice to include the painting’s owners and St Joseph, are nuggets of conscious and subconscious meanings. The names of the owner’s wife, Margarete Scrynmaker, could be the origin of the commissioned ‘Merode’ triptych’s conscious symbolism or programme. Margaret means Pearl, or fruit of tears, and Scrynmaker means Basket- or Chest-maker, or Carpenter, as St Joseph was assumed to be. Christ was announced by an arch-angel, and a ‘pearl’ or inclusion in St Mary’s womb, destined to grow from suffering, to become a jewel in a family chest; as the new couple aspired to nurture the Engelbrecht or ‘Angel-brought’ family and their material and spiritual treasure chest. The artist links the two families to the mystery of Christ, who warned against casting pearls before swine (see Bruegel’s Dutch Proverbs in another post, on www.stoneprintjournal.wordpress.com). And He described heaven as a pearl of great price for which a merchant would sell all. The merchant donors aspired to secure a place in heaven, and to model their home on Revelation’s New Jerusalem with twelve pearly gates. Beneath the cluster of symbols, parables and codes, lies five rigorous layers of subconscious meaning, as in all artworks of all cultures (see www.mindprintart.wordpress.com). Structuralist analyses of both artworks against the mindprint model (see the article Blueprint in another post), demonstrate that artists, copyists and collaborators subconsciously express about 60% of the 100 known optional recurrent features of character and spacing. The archetypal core content of culture is unaffected by any conscious motivations.

Campin’s first Annunciation version shows only two living characters, but enough re-pictured characters to complete the average number of sixteen focal points on the usual axial grid, including eyes, a heart (here two hearts) and a womb as usual. The re-pictured characters include four nobles in heraldic windows, a print of St Christopher carrying the Christ child, two mantelpiece corbel busts, two miniature lion bench finials, a book illustration, a glazed bird on the jug, and three subconscious compromises: a book spine, a hand, and a lily. Minimalist artworks with few characters always force some compromises against the rule of eyes. The triptych version has eight live characters to carry the minimum twelve axial grid points, with three eyeless character compromises: a sword hilt, a foot, and a book spine. Despite these apparent exceptions (see Stoneprint Journal Five on Lulu.com), three of these axes hold two characters each.

The two Campin Annunciation versions confirm some of the unwritten rules of artwork imitations and collaborations. Freehand ‘copies’ and engravings were always new designs, each expressing a new version of the archetypal blueprint. The numbers and kinds of changes that could be made to completed works usually escalate structuralist compromises. Here the donor’s wife, despite here prominence in the symbolism, has her eyes off the axial grid, and her womb far from the type Womb position (see 11 in the list below). Critics such as Lorne Campbell, using conventional, conscious analyses methods, agree that the woman donor was re-worked, and seems ‘crammed in’ and ‘ungrounded’. Her head may have been slightly lower and her eyes may have formed an additional type 7-15 axis with citizens in the street background; then raised to better reflect her status. The bearded man in the garden was also a late addition, but his head is in the exact position to complete the minimum cycle of twelve focal points.

Minute domestic detail is typical of miniatures of the time, after monastic illuminated manuscripts, such as the Hours or calendar books that Mary is reading. Several novel details in this smallish but symbolically dense work, reappear in later Annunciations by other artists. Campin’s Annunciation triptych was hidden in private hands until the late 1950s. Yet this transition from Gothic cosmology to Early Netherlandish domestic realism influenced Jan van Eyck’s Ghent altarpiece Annunciation, and most modern art. Symbolic elements in the central panel relate to Annunciation, Mass and Eucharist.

Some art critics saw Campin’s Annunciation as “incoherent in design”, lacking spatial continuity, as in his Seilern triptych. The sky in the central panel windows was initially in gold, re-painted, but remained incongruous with the Liege street scene in the wings, with poor perspective. Yet these conscious flaws and objections do not affect the formerly invisible structure. No indication of conscious recognition of archetypal features, their peripheral sequence, the axial ocular (eye to eye) grid, the five polar points, or their correlation with the time-frame of Ages, have yet been found, despite analysis of about 770 artworks, 100 built sites, and several iconic sets, including alphabets (see the article Blueprint, in another post).

The Annunciation triptych is undated and unsigned (but see notes under the triptych type 13c), but fairly securely attributed to the early Netherlandish painter labelled Master of Flemalle, probably Robert Campin, and an assistant, perhaps Rogier van der Weyden (who later painted a reading Magdalene, in Christian tradition associated with loose red hair and a vase). The two towers are the Liege Church of St Pierre or Peter, meaning Rock, and Church of Holy Cross. The triptych is named after a previous owner, comtesse Marie-Nicolette de Merode (d1905).

Domestic bliss in Campin’s original Annunciation

Dominant general themes in Robert Campin’s original Annunciation single panel, are revealed by extra features of the types on these axes:

1 /2-8/9 Builder v Healer, typical of twisted posture (here both live characters, and the images of Christ and St Christopher), build (house interior), hero (archangel, St Mary, Christ, St Christopher), book (two Testaments or a Book or Hours), or spring (lily); opposite pillar (furniture, and corbels), heal (Christ’s implied role), or disc (table).

2c-9c Basket v Lid, typical of weave (here rich textiles, bag, and window lattice), container (jug), throne (lion bench), secret (angel, and Immaculate Conception); opposite disc (table), or revelation (Scripture, and some fulfilment in the Annunciation). C-types are off the axial grid, but between specific axes. Types 5c-13c Basket Tail v Head, add the features of herb (here lily); opposite oracle (Scripture and Annunciation).

Minor general themes include these axes:

3-10 Queen v Teacher, including raised arms (here of the angel, St Mary and St Christopher);

4-11 King v Womb, of squat (angel, Mary, Christ), king (noble ancestors, and Christ), rectangles (windows, room), furnace (fireplace); opposite womb (here the main theme, echoed in the vase), law (Testaments), felid (four lion finials, and Christ’s Judah tribe logo), interior, or library (books).

These themes are among the most intimate and domestic in either Testament, and overlap with the ever popular children’s game of mock wedding and mock baptism (see another post on Bruegel’s Children’s games on www.stoneprintjournal.wordpress.com). The two later wings add more features to these types, and add one of the polar axles as a major theme (see the triptych below).

Robert Campin or Flemalle Master c1421; Liege Annunciation, a domestic commission (now in Brussels. Archetypal labels and axial grid by Edmond Furter). This work was the model for the central panel of the Merode private triptych altarpiece c 1426. Both works express the universal structure.

Type Label; Character (noting archetypal features):

1 Builder; Fireplace corbel (building) angel bust A.

2 Builder; St Christopher (hero) carrying (twist) Christ (hero) across a river (pit).

2c Basket; Window lattice (weave) screen (texture).

3 Queen; Window armorial shield C of a noble (queen?).

4 King; Window (rectangle, sun) armorial shield B (twin?) of a noble (king?). And missing candle as Holy Spirit.

5a Priest; White lily of purity (ritual), in the shape of a dove of Holy Spirit (more typical of 12 opposite).

5b Priest; Bird (winged) image on Tuscan jug (priest, water).

5c Basket Tail; Jug (container, water of 5), with design of feathers (texture) and lily (herb?). C-types are off the axial grid, but between specific axes.

6 Exile; Angel Gabriel.

7 Child; Book pouch (bag, rope, unfold, eyeless).

8 Healer; Gabriel’s fingers on his knee, NO EYE.

9 Healer; Gabriel’s fingers on his knee, NO EYE.

9c Basket Lid; Book pouch (container) of textile (weave), at open book (reveal). And Table (lid), a kind of altar, sixteen-sided, perhaps for sixteen Hebrew prophets (hermit, of 9). And table leg (pillar).

10 Teacher; Book (school) of Hours, open (‘arms’ up).

11 Womb; St Mary’s midriff (womb) and hand on book (library).

12 Heart; St Mary’s chest (heart).

13 Heart; Lion (felid) finial B’s chest (heart) on the bench, perhaps a kind of Seat of Wisdom, or throne of Solomon. See Tarot trump 5, Pope on a throne of wisdom, expressing type 5, opposite types 12/13.

13c Basket Head; St Mary’s mouth (oracle). Transitional c-types are off the axial grid, but between specific axes.

14 Mixer; St Mary sitting on the floor, humble, still unaware of Gabriel, reading a book of Hours (time), about to be impregnated (transform). She is in a red gown rather than the usual blue, with red hair unbound, more typical of Magdalene, an identification supported by the vase on the table. Rogier van der Weyden later painted a Magdalene Reading. She is nearer the axial centre (ingress).

15 Maker; Fireplace corbel angel (winged) bust (face) B (doubled).

15g Gal.Gate; Fireplace brush. And chimney (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Window shutter A (juncture).

11p Gal.Pole; St Mary’s elbow (limb-joint).

Summer or celestial pole, PC; St Mary’s jaw (limb-joint).

Winter or celestial south pole, PCS; Vase bird’s beak (limb-joint).

The summer marker is on axis 13 or Leo, implying spring and the cultural time-frame in Age Taurus2, confirmed by the prominent position of the only image of Christ, on St Christopher’s shoulders.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

The Engelbrecht familys’ Liege townhouse heaven in Campin’s Annunciation triptych

Dominant general themes in Robert Campin and his workshop’s Annunciation triptych are revealed by extra features of the same type axes as in his original single panel version, with some changes and additions, and more prominent polar features:

1 /2-8/9 Builder v Healer, typical of buildings (walls, city, room, furniture, carpenter’s shop), hero (donor, supporter, angel, Mary, Joseph); opposite bent forward posture (two donors).

2c-9c Basket v Lid, typical of container (here a jug, the triptych as a closing or opening ‘box’, the implied basket, jewel cabinet or Schryn in the donor’s maiden name, and the storage bench that St Joseph sits on), instrument (set of tools), arm-link (donor’s hat, guest’s hat, Mary’s book, Joseph’s drill); opposite hat (three). C-types are off the axial grid, but between specific axes.

3-10 Queen v Teacher, of sacrifice (by donors and 5b sponsor); opposite guard (St Joseph as guardian, and the wing panels themselves), metal (set of tools), market (workshop, and street).

6-14 Exile v Mixer, of egress (characters in two wings), tree (tree in garden); opposite tree (Joseph’s log and woodwork).

4p-11p Gal. S. Pole v Gal. Pole, of limb-joints (here Gabriel’s and Mary’s jaws, one about to announce a miracle, one about to utter acceptance of her role, as humble as her seat on a footrest).

Robert Campin or Flemalle Master; Liege Annunciation triptych, or Merode private altarpiece commission, 1422 /1425 (Cloisters, New York. Archetypal labels and axial grid by Edmond Furter).

Type Label; Character (noting archetypal features):

2 Builder; Towel rack swivel (twist) end plate ‘face’.

2c Basket; Washing basin (container, rain) and towel (weave), instruments of Baptism and Mass (sacrifice, of 3). C-types are off the axial grid, but between specific axes.

3 Queen; Angel Gabriel, dressed as a deacon. And light from the round window or ‘eye’. And Christ (sacrifice) Child diving (neck bent), bringing a cross (sacrifice), incarnating towards Mary as divine impregnation. The altarpiece was commissioned by Jan Engelbrecht or Cologne-born Peter Engelbrecht, meaning ‘Angel-brought’.

4 King; Bird (bird) on garden (garden) wall (wall, rectangle).

5b Priest; Guest or sponsor in wedding feast (ritual, assembly) clothes (colours) and cloak? (sash), perhaps a knight (weapon). Added later, yet part of the subconscious structure or visual ‘grammar’.

5c Basket Tail; Liege street scene (maze).

6 Exile; Donor (sacrifice) Jan Engelbrecht, or Cologne-born Peter Engelbrecht, meaning ‘Angel-brought’ (see type 3), from Mechelen, and in Tournai in 1427. His coat of arms is in the stained glass windows. He looks in on St Mary in his house, asking for a family or for entry to heaven later. He is nearer the axial centre (ingress).

6-7 Donor’s wife, Margarete Scrynmaker. Her name means Pearl, or gestation from tears. Her maiden surname means Basket- or Chest-maker, or Carpenter (see 14). Critics see her image as a late addition, and her eye is OFF THE GRID. Yet her names could be the basis of the commissioned artwork’s conscious symbolism and ‘programme’. Christ is a ‘pearl’ or inclusion in St Mary’s womb, to grow hard from suffering, to become a jewel in a family chest; as she aspires to nurture and treasure the Engelbrecht family.

7 Child; Sword pommel (eyeless).

7g Gal.Centre; Steps (juncture) from garden to house or heaven. And door (juncture, path). And donor’s knees (limb-joints).

9 Healer; Angel Gabriel’s foot. And his gesturing hand (bent forward).

9c Basket Lid; Book pouch (container) of green velvet (weave), at open book (reveal) on the table (lid). Sixteen sides may represent sixteen prophets (hermit, of 9). And table leg (pillar).

10 Teacher; Scroll and book (school) of Old and New Testaments, open (’arms’ up), linked to Mary and Christ as fulfilling prophecies.

11 Womb; Bench lion finial A’s midriff (womb).

11p Gal.Pole; Stumbling block or scandalum, a spiked block hung on a convict’s waist to gash his legs legs. One of the reputed instruments of Christ’s Passion. And Joseph’s joinery instruments; saw, axe, knife, drill, those on the table as three crosses of Christ and two thieves.

13 Heart; Chest (heart) of St Joseph, with axe (weapon). And St Mary.

13c Basket Head; Jug (container) with Latin and Hebraic letters (texture, oracle), perhaps spelling ‘De Campyn’ as the artist’s signature. And the fire screen (texture).

14 Mixer; St Joseph, far from the axial centre (egress), drilling spike holes into a stumbling block, an instrument of Christ’s Passion. With axe, saw, rod, footstool, and fire log (tree), after Is10:15: “Shall the axe boast itself against him that hews it, or the saw magnify itself against him that moves it, or the rod shake itself against them that lift it, or the staff lift itself as if there were no wood.’ Isaiah stoked revolution against an Assyrian king that he thought backward and vainglorious. St Augustine saw Joseph guarding against the devil (an optional feature of type 15 adjacent), as Egyptian god Bes guards the newborn. Joseph’s mouse trap is a symbol and proverb of Christ’s flesh as bait, and Crucifixion as capture of the Devil by releasing Adam’s sin. The donor’s wife was Margarete Scrynmaker, meaning Carpenter, a pun on Joseph’s assumed profession (and see 6-7). Conscious and subconscious meanings overlap strongly in the right wing.

15 Maker; Candle smoke and wind gust as Holy Spirit. And fireplace bust (face) corbel (rampant).

15g Gal.Gate; Armorial shields (order) A and B (double). And window (juncture) lattice screen (grid).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; St Gabriel’s jaw (limb-joint).

11p Gal.Pole; St Mary’s jaw (limb-joint).

Summer or celestial pole; Candle.

Winter or celestial south pole; Angel Gabriel’s thumb (limb-joint).

The summer marker is between axes 14-15 or Cancer-Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by the small but dramatic image of Christ child floating from the round window. That transitional age was about BC 80, long before the work as usual.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Categories
Mindprint art examples Structural art analysis using mindprint

Frank Gutierrez’ artwork Once Again dramatises imbalance

Frank Gutierrez’s artwork Once Again (Una vez mas), was displayed among works that Darry Sheets put up on auction after buying a locker in an episode of Storage Wars. Gutierrez also made a lithograph of this painting, adding fighter jets in the sky (see below). He is much lesser known, and his style is less consistent and less recognisable, than the more prolific music album illustrator Rudy Gutierrez (see another post, on http://www.mindprintart.wordpress.com).

The dominant general theme in Gutierrez’s Once Again, is revealed by extra features of type 10 Teacher, typical of raised arms (here of five characters), staff (two flag-posts), hunt-master (president and three forces commanders), guard (three forces commanders), and council (thee in argument). Type 10 expresses balance, as in its mytho-astro version of Libra, but here the theme of balance is as ironic as the conscious theme of national protection and defence. The canvas speaks of the Biblical ‘war and rumours of war’, and the threat of war to end all wars.

Frank Gutierrez; Once Again (Una vez mas), or Men of power, revealing ironies of defence, war and terror drama over a coffin and a sleeping homeless man (after Pinterest. Archetypal labels and axial grid by E Furter).

Type Label; Character (noting archetypal features):

2 Builder; Buffalo (bovid) on a spoof flag (twist) inscribed ‘California’. The real state flag has a star and bear, inscribed California Republic, since it started as a briefly illegal gold rush immigration occupation of a Mexican territory in 1846, named Bear Flag Revolt. The flag could refer to Santa Catalina Island and Gulf at Los Angeles, formerly of the Tongva tribe, Spain, Mexico, pirates, smugglers, and private owners, now a tourist resort. The ‘Vanishing American’ movie crew took some bison to the island in 1924. The spoof flag is on a bench, before terror or war smoke (ruin).

2c Basket; Air Force or policeman clown (hat, weapon) with pistol.

3 Queen; Defence commander (sacrifice).

4 King; Politician? At bench (squat, rectangle) in front of inferno (furnace).

5a Priest; President (assembly), perhaps George W Bush, or aide with briefcase of nuclear launch codes (tailcoat head, weapon), wearing a USA flag (vari-coloured) cape, hand under jacket as Napoleon.

6 Exile; Priest (more typical of 5), at coffin (sacrifice).

7 Child; Forces clown (juvenile), eyes closed (eyeless). And USA flag (unfold).

7g Gal.Centre; USA flag (juncture) and coffin.

9 Healer; Pistol (strong) discharged; NO EYE.

10 Teacher; Nuclear launch code briefcase (‘hunt-master’, guard, metal); NO EYE.

11 Womb; Homeless man’s midriff (‘womb’) reclining (tomb?).

12 Heart; Homeless man’s chest (heart), reclining (death?).

14 Mixer; Homeless man (transform?).

15 Maker; Toy pistol (weapon, smite), as on left (doubled).

15g Gal.Gate;Forces badge.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; President’s jaw (limb-joint).

11p Gal.Pole; Homeless man’s elbow (limb-joint). The galactic polar axle is near the vertical plane.

Summer; Force member’s shoulder (limb-joint).

Winter; Force member A’s elbow (limb-joint).

The solstice axle places summer between axes 15-1, or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, our current Age (since 2016). These markers are confirmed by the types of the two top central characters. This transitional framework was slightly ‘prophetic’ for the artist, but works aimed at social reform often find expression in transitional time-frames.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Frank Gutierrez’ Once Again poster flips the structure around

Most artists instinctively re-design their works for use in different media, and avoid making exact copies of their works, partly since hand-made copies could affect the integrity of the axial grid. Most engravings in the Renaissance and industrial era are also re-designs, such as Cibber’s engraving of the Great Fire of London, versus his bronze plaque of the same theme for Nelson’s column (see Stoneprint Journal 4; Stoneprint tour of London, available from Lulu.com, or short extracts on http://www.mindprintart.wordpress.com and on www.stoneprintjournal.wordpress.com).

Frank Gutierrez; Once Again (Una vex mas), pop art poster version (archetype labels and axial grid by E Furter). The design, typology and axial grid between the focal points have some differences, as all artworks do, as noted below.

The poster flips the structure left-right, and re-designs its. There are few structuralist co-incidences between the painting and the poster:

Type 2 Builder as flag; v epaulette or jaw.

President’s briefcase with nuclear launch codes as type 10 Teacher or balance; v 14 Mixer or transformation.

President’s jaw as Galactic South Pole marker; v Summer or Celestial Pole marker.

Time-frame of Age Pisces-Aquarius; v Age Taurus-Aries, more common in alchemical works.

The theme of deja vu in the political behaviour that enables societies and nations, ironically parallels recurrent features in the ‘grammar’ or ‘genetic code’ that enables nature and culture.

 

Categories
Ice Age art analysis Mindprint art examples Structural art analysis using mindprint

Structural analysis reveals another Ice Age mindprint in Chauvet

Chauvet antelopes, horses, and bovids (Patrick Aventurier /Getty. Mindprint labels and axial grid by Edmond Furter). The mental capacity, behaviour, and cultural repertoire at the time was identical to modern humans, despite lacking the population numbers to specialise or civilse in villages.
Chauvet antelopes, horses, and bovids (photo after Patrick Aventurier /Getty. Mindprint labels and axial grid by Edmond Furter). The mental capacity, behaviour, and cultural repertoire at the time was identical to modern humans, despite lacking the population numbers to specialise, or civilse in villages.

Application of the structural analysis method named mindprint, published in 2014, reveals the same core content in Ice Age cave art, as in hundreds of examples from every other era, place, and culture in the world. (An introduction to the book follows below some recently added posts).

The latest example of the mindprint structure in a Chauvet cave charcoal panel in France, indicates the same repertoire of perception and cultural expression as in various kinds of art and artefacts, from the Younger Dryas ‘thaw’ at Gobekli Tepe, to Babylonian, Egyptian, European, Indian, Chinese, Australian, African and American art.

Two other Chauvet panels (see below) were earlier found to express a partly interlocking double imprint (Furter 2014; Mindprint p154 and p155, Lulu.com). In all artworks containing eleven or more characters, each one expresses one of the attributes of a type; always in the same sequence; always with their eyes on an axial grid; and always with some limb joints in the centre indicating the time-frame of the work. Artists then, and now, are not aware that they express the structure of perception.

Type labels, and Characters in a Chauvet cave artwork, in the usual peripheral sequence (noting archetypal features):

2 Builder or Taurus; An antelope (bovid, not counted here due to abundance), in a twisting posture (twisting)
2c Basket; Jumble of lines (weave)
3 Queen or Aries; An antelope
4 King or Pisces; Horse (equid)
4p Galactic south pole; Horse shoulder (limb joint)
5a Priest or Aquarius; An antler, large (large)
6 Exile or Capricornus; An antler, nearer the centre (ingress)
7 Chile or Sagittarius; ? (often an indistinct shape. Perhaps damaged).
9 Healer or Scorpius; Bovid, large (large)
10 Teacher or Libra; An antler
11 Womb or Virgo; An antler’s womb (womb)
11 Galactic pole; Hump (limb-joint)
13 Heart or Leo; An antelope heart (heart)
13c Basket Head; Tally marks (texture)
14 Mixer or Cancer; An antelope, far out (egress)
15 Maker or Gemini; An antelope
15g Gate; Chasm in the rock face and ‘landscape’.

The ecliptic pole or axial centre is on a horse hoof (limb joint). The celestial pole is on a horse knee (limb joint), on the vertical plane (orientation) of most of the figures (one of the pairs of edges of the polar triangles are often vertical or horizontal). These polar markers place the summer of the subconscious cosmic structure (which is not a star map) in Virgo-Leo, thus the spring, and the cultural inspiration, in Age Gemini-Taurus, about BC 6400. However the time-frame is usually the Age or transition preceding the era of the work, thus this work was probably made in Age Taurus, when autumn was in Scorpius, and winter in Aquarius (both here on corners of the ocular (eye-to-eye) outline. Age Taurus lasted 40 degrees of precession, twice as long as Age Aries, which lasted 20 degrees, due to its compact borders. Subconscious division of ages does not follow the 30-degree divisions of of zodiac months, although Age Pisces lasted the average, of 30 degrees, or about 2100 years.

All five layers of structural expression (attributes; sequence; ocular grid; polar structure; and relation to preceding or current Age), are subconscious to artists, architects, builders and members of any culture.

The general theme here is probably the season, depicted by moulting of neck hair, and contrary movement.

The stoneprint analysis score is….. about 54% [the scoring format has since been updated, see later posts]. Despite the lack of species diversity, and themes that only paleontologists could spot, this panel demonstrates more than half the features identified (Furter 2014; Mindprint p 84 -87). Additional features of subconscious expression may yet be isolated and tested.

Chauvet cave rhino double panel, left half (mindprint labels and axial grid by Edmond Furter).
Chauvet cave rhino double panel, left half (mindprint labels and axial grid by Edmond Furter).
Chauvet rhino double panel, right half (mindprint labels and axial grid by Edmond Furter).
Chauvet rhino double panel, right half (mindprint labels and axial grid by Edmond Furter).

The presence of two other mindprints in Chauvet cave, and another in Lascaux cave (p150-151), and another in Niaux (p241), and another in Addaura (p240), and in Peche Merle, and relief carvings on two Gobekli Tepe pillars, confirms that pre-civilised cultures operated on the same principles of perception and expression as modern cultures do. The only differences between these ceilings, and cathedrals such as the Sistine Chapel ceiling, is in the scale, time, and budget afforded by empire.

Mindprint is present in all complex art, including modern art (see some of the 200 examples in the book, in other posts on this website, and on http://www.mindprintart.wordpress.com.

  • See an article on structural anthropology in the book WWW, Rock art When, Where, to Whom (2016. Atelier Etno).
  • See an article on http://www.grahamhancock.com under Author of the month, September 2015, on cultural structure.

 

Categories
Mindprint art examples Mindprint the subconscious art code

More mindprint art demonstrations

Here are some of the 200 structural analyses of art, rock art, artefacts, and reflexology examples, from the book Mindprint (Edmond Furter 2014, Lulu.com); and some artworks sent to me by readers and web visitors.

Illustrations and tables identify typological characters, confirmed by their peripheral sequence, and the axial grid between their eyes, and the tri-polar structure in the centre, usually marked by some limb joints in specific places.

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 diffusion from any particular culture.

A star map in northern hemispheric eclipto-centric projection (Skychart 3.0.1.6), with celestial poles precessed to 2016. Mythic constellation variants, mindprint labels and division meridians are added (Edmond Furter; Mindprint, 2014, p32).
A star map in northern hemispheric eclipto-centric (earth orbit) projection (Skychart 3.0.1.6), with celestial poles precessed to 2016. Mythic constellation variants, mindprint labels and division meridians are added (Edmond Furter; Mindprint, 2014, p32).

The structure in cosmology

No observer could see this view of the sky, yet it reflects the structure of cosmic concepts as expressed in all complex artworks (and building sites, see Stoneprint 2016), of all cultures and Ages.
Ecliptic projection is the most holistic map of time and season to a flat surface, to which we instinctively add analogous natural and cultural attributes, thus re-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 incomplete expressions of aspects of archetype. No expresssion, and no medium is ‘original’. Since myth and astrology are generally known, this study uses mythic and zodiac (ecliptic equator) labels (not ‘signs’), 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 artworks (UPDATE: by March 2018, the database of artworks had risen over 600, and statistically tested features to 265. UPDATE 2019; The table of recurrent features, and global averages, was enlarged in 2018 and 2019. See later posts).

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). Constellations do not have their ‘eyes’ on an axial grid, but artworks do (with the two constant exceptions of type 11 Womb or Virgo with her midriff womb on the grid, and type 12/13 Heart or Leo with his chest or heart on the grid). Art does not “come from” the sky, but constellations come from collective subconscious wisdom, forming an independent medium, equal to art, ritual, and other media.
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.
The axial centre is analogous to 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 currentlyh about 23.4 degrees from the ecliptic pole (axial centre). 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.
The Galactic Poles, 11p or Gp, and 4p or Gsp, are static, between and just north of Virgo and Leo (above), and between and just 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 poles formed a line at 11p, 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 (see an article on the supposed Gobekli Tepe ‘zodiac’, where the precession curve is discussed, onhttps://stoneprintjournal.blog/2017/06/08/gobekli-tepe-art-is-not-a-zodiac/ ). 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), 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.

Nature and culture express the same archetypal structure (palm reflexology points after Aculife, with mindprint typolgoy and axial grid added by Edmond Furter, 2016). This 2016 structural phisology analysis better matches with the eye iris reflexology analysis based on the chart by Dr Jensen, and thus it replaces the earlier hand reflexology grid of 2014, which was based on an informal reflexology chart.
Nature and culture express the same archetypal structure (palm reflexology points after Aculife, with mindprint typolgoy and axial grid added by Edmond Furter, 2016). This 2016 structural phisology analysis better matches with the eye iris reflexology analysis based on the chart by Dr Jensen, and thus it replaces the earlier hand reflexology grid of 2014, which was based on an informal reflexology chart.
Iris reflexology chart, right eye (Dr Bernard Jensen), with mindprint labelling and typological axes by Edmond Furter. The node sequence in our left eyes are contra-rotated, and 'geared' with the right iris.
Iris reflexology chart, right eye (Dr Bernard Jensen), with mindprint labelling and typological axes by Edmond Furter. The node sequence in our left eyes are contra-rotated, and ‘geared’ with the right iris.

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 extant (preserved and still available) expressions (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.

Babylonian kudurru boundary marker rock cone (Rawlinson), with mindprint analysis by Edmond Furter.
Babylonian kudurru boundary marker rock cone (after Rawlinson, with mindprint analysis by Edmond Furter).

A Babylonian clock

Type 2 Builder or Taurus, decan Auriga-Orion as a bird on a forked staff, and an arrow. Between 1 Builder or Taurus, and 15 Maker or 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 Taurus1. 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 posts on decans). 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 King or Pisces Cetus (Whale) monster.
The elephant trunk, sleeve, knife, axe or lamp over type 3 Queen or Aries, expresses Andromeda and Triangulum, confirming the Hindu motif of the same shape (see Indian churn groups in another post).
Type 11 Womb or Virgo, as its decan 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 Heart or Leo, marking midsummer as freshly arrived in Leo from Virgo (by precession), confirmed by the Geminian spring dog arrived at 2 Builder or 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 Priest or 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.

Egyptian Dendera crypt lotus bulb engraving in context, with mindprint structure.
Egyptian Dendera crypt lotus bulb engraving in context, with mindprint structure.

A lotus snake rain bag

Type 2 Builder or Taurus, decan 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. Type 3 Queen or Aries is a hand and absent head of a djed pillar with arms raised, more typical of its opposite 10 Teacher or Libra, but with a long neck as usual. Taurus and Aries sometimes flank the mystical basket (see a Roman sarcophagus), here the djed pillar, as in the Osiris, Nebuchadnezzar and Moses legends of a trunk coffin or basket.
Type 10 Teacher or Libra is marked on the eye of his snake staff. His own head appears after 8/9 Healer or Scorpius (neither confirmed by opposites), thus he stands in for 8 Healer or Scorpius, decan Ophiuchus (Serpent holder). 1 Builder or Taurus as a knifeman defends 15 Maker or 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), down to Aries Cetus tail. The lotus stem bends back around to the 3 Queen or 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). 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 Builder, decans Auriga (Artemis), Orion, or Perseus (see the Narmer palette in another post).
Their opposites and cardinals also sometimes appear as snakes, dragons, bags or churn groups (see 8 decan 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).
Type 3 Queen or Aries in the upper register is a cartouche under Maat ostrich feathers, usually identified with its opposite, 10 Teacher or 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.

Type Taurus t1 Auriga-Orion as a bird-fish swift person (Easter Island, Hau Kota boulder engraving, Bradshaw Foundation. Mindprint analysis by Edmond Furter).
Type 1 Builder or Taurus, decan Auriga-Orion as a bird-fish swift person (Easter Island, Hau Kota boulder engraving, Bradshaw Foundation. Mindprint analysis by Edmond Furter).

Fish people as swift people

Type 1 Builder or Taurus, decan 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). Type 4 King or 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 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 double-sided, flip-over or contra-rotating expressions of the two spheres of our eyes, hands, brain and perspective.

Mandela as a composite triple type
Nelson Mandela as a composite triple type.

Type 5 Priest or Aquarius 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. Typological analysis by Edmond Furter).
Type 5 Priest or Aquarius often appropriates attributes of opposite and adjacent types (see a USA Piedra Pintada hand-drawn rock art copy in another post) 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), thus Mandela is a ‘painted’ (varicolorued), ordained (priest) 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 type 5 Priest or Aquarius, 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 type 4 King Pisces feature of a twin (see Tarot trump 4:19, distinct from the unequal twins of type 15 Maker or Gemini). Here, 15 Maker or Gemini is a large mask (face. See Salvador Dali; ‘It just popped up’. Type 1 Buidler or Taurus, decan Orion, is a tower (tower). Type 11 Womb or Virgo is probably on the Mexican woman’s womb, cropped off the photograph (the artists noted that she was not intended to represent Mandela’s second wife from Mozambique, 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.

Types Leo t12 and Leo t13 as the bowl-shaped hearts of spermiform figures, in a double concentric and dual-rotating mindprint (Bolivian disc 3. Klaus Dona. Mindprint analysis by Edmond Furter).
Types 12 Leo and 13 Heart or Leo as the bowl-shaped hearts of spermiform figures, in a double concentric and dual-rotating mindprint (Bolivian disc3. Klaus Dona. Mindprint analysis by Edmond Furter).

Dynamic microcosm

Compare this artefact with Egyptian cosmetic palettes with bowls, as in the Hunters palette in another post).
Type 13 Heart or Leo’s opposite at 5b Priest or Aquarius, is a flamboyant figure in active posture as usual, and 5a Priest or Aquarius 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 Queen or Aries is an antithetical dragon or snake, as usual, but its opposite 10 Teacher or Libra is a man under a horizontal angel, more relevant to the concept of 3 decan Andromeda and Perseus than 10 features. In turn, 2 Builder or Taurus is a dragon with a long tail, more relevant to its opposite 9 Healer or Scorpius, which figures a hero with one arm in and one out, a timid 2 decan 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 t15 Gemini [ge15] is a ,,,,

Australian Elivna pavement engraving (ATNF. CSIRO. Mindprint labelling and axial grid added by Edmond Furter). Type 15 Maker or Gemini [ge15] is probably a kangaroo or wallaby with a pouch (the type often has a bag, including some marsupials).

Dingoes in Australian rock art

A dingo exrpessing type t6 Capricornus in Australian rock art (Queensland, Cape York. Exploreaustralia.net. Mindprint labels and axial grid added by Edmond Furter). The jumper expressing type t1 Taurus could be a hunting dingo, or a kangaroo baby jumping for its pouch.
A dingo (in the lower register, labelled 6) expressing type 6 Exile or Capricornus in Australian rock art (Queensland, Cape York. Exploreaustralia.net. Mindprint labels and axial grid added by Edmond Furter). The jumper expressing type 1 Taurus could be a hunting dingo, or a kangaroo baby jumping for its pouch.

Australia does not naturally have large felid, so dingoes sometimes express type 13 and/or 12 Heart or Leo (felid). Here, type 6 Exile or 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 Maker or Gemini, decan Canis (canid), 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 Mixer or Cancer, decan Ursa Minor, or rarely its opposite 6 Exile or 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 Heart or Leo, with its heart instead of its eye on the axial grid in 85% of instances.
In an Australian rock painting, a dingo hunting a kangaroo expresses type 13 Heart or 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:

01 Builder Taurus; Hunting dingo, or kangaroo baby.

02 Builder or Taurus; Large spirit or rain woman (rain, priestess).

03 Queen or Aries; Long and bent arms instead of its more usual long or bent neck.

04 King or Pisces; Fish (fish, a rare feature). And a person (doubled).

05 Priest or Aquarius; Lines of dots (varicoloured. Here hidden by the label), large (large). Both its eyes are on the axial grid, opposite two Heart/Leo types.

06 Exile or Capricornus; Dingo or saurean.

07 Child or Sagittarius; Person, or half-animal, or skin (bag).

08 Healer or Scorpius; Large man (large).

09 Healer or Scorpius; Man jumping (arms up, trance?).

10 Teacher or Libra; Turtle or a skin, arms in V position (arms up).

11 Womb Virgo; Person’s womb (womb).

12 Heart or Leo; Person’s heart (heart).

13 Heart or Leo; Animal (felid proxy?).

14 Mixer or Cancer; Person.

15 Maker or Gemini; Kangaroo (rampant), white (white face), mother with a pouch (bag).

The axial centre may be a jaw (limb-joint). The ‘celestial pole’ is on a kangaroo paw (limb joint). The ‘celestial south pole’ is on the jumper’s paw (limb joint). These markers place ‘summer’ in Gemini, implying ‘spring’ in Pisces, and the cultural time-frame in Age Pisces (the last 2000 years up to 2016), the era of the work. Most art is expressed in the era preceding the work.

Two spheres, three paths

Type 15 Maker or Gemini as a white figure in a tight churn group, in a double imprint (Australia, Djuliri emu at a tree. Mindprint analysis by Edmond Furter).Two spheres, three paths

The type 15 charcter here is damaged and indistinct, but the position of its head is clear. Type 14 Mixer or 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). 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.

Andrew's sketch of a large rock engraving in Australia (posted in a comment to Edmond Furter on grahamhancock.com), with tentative labelling of typological figures and a potential axial grid.
Andrew’s sketch of a large rock engraving in Australia (posted in a comment to Edmond Furter on grahamhancock.com), with tentative labelling of typological characters and a potential axial grid.

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 cosmological elements. Here is a tentative typological identification of the figures (noting archetypal features):

02 Builder or Taurus; Two fish (very rare in this position).

03 Queen or Aries; Animal.

04 King or Pisces; Fish (fish).

04p Gal.S.Pole;

Man’s foot (limb-joint).

05 Priest or Aquarius; Man in a world map (human, active, horizontal, large).

06 Exile or Capricornus; Animal, far out (egress).

07 Child or Sagittarius; Bulge (bag or juvenile?).

07g Galactic Centre; Map features?

09 Healer or Scorpius; Fish with a long tail.

10 Teacher or Libra; Fish with a prominent fin.

11 Womb or Virgo; Turtle, axis to her shell (womb).

11p Galactic pole; Turtle leg (limb-joint).

13 Heart or Leo; Whale?, axis to his chest (heart).

14 Mixer or Cancer; Fish (more often a bird).

15 Maker or Gemini; Man spearing (smite) or netting (rope, bag), with a bird decan (bird).

15g Gate; Gateway (path).

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 prominence of type 5 Aquarius may indicate the end of Age Pisces (cosmologically since 2016), 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.

A wheel cart Type Cancer t14 as a wheel or cart in a semi-geometric engraving. Its opposite, Capricornus t6, is the only other wheel in the large work. (USA Utah, San Juan County, Monticello 'Newspaper' rock. James Q Jacobs. Mindprint analysis by Edmond Furter). See a buck bag vortex carousel wheel at Libra t10 (cardinal to Cander and Capricornus), in an Egyptian mural at theme t13, and in an Algerian cattle wheel or bowl at theme t3. Some parts of this complex American work contain smaller mindprints, or hiolographic 'splits'. Giant footprints have a legendary life as supposed evidence of survival of hominid or humanoid races, or spirits made manifest. The nearest physical evidence for yeti is of a hairy and timid species of bear in the Himalayas. Tracking and estimating time are universal human and animal skills. Some archetypal shapes are co-incident with footprints and tracks (see a track as a fish pond frame in South African art). Celestial polar markers on a head and genitals, and the vertical plane, tag the inspiration as Age Pisces- Aquarius, our current era.
A wheel cart

Type 14 Mixer or Cancer as a wheel or cart in a semi-geometric engraving. Its opposite, 6 Exile or Capricornus, is the only other wheel in the large work. (USA Utah, San Juan County, Monticello Newspaper rock. After James Q Jacobs. Typology and axial grid by Edmond Furter). Some parts of this complex American work also contain smaller mindprints, due to holographic effect.
Giant footprints have a legendary life as supposed evidence of survival of hominid or humanoid races, or spirits made manifest. The nearest physical evidence for yeti is of a hairy and timid species of bear in the Himalayas. Tracking and estimating time are universal human and animal skills. Some archetypal shapes are co-incident with footprints and tracks (see a track as a fish pond frame, among the initial illustrations in the text). Celestial polar markers on a head and genitals, and the vertical plane, tag the inspiration as Age Pisces-Aquarius, our current era.

[caption id="attachment_167" align="alignnone" width="625"]Asian pirates with scarabs Type Cancer t14 as Y people with scarabs (Asian Tien Shan range, Kangjiashimaji heads. Scen.org. Mindprint analysis by Edmond Furter). Cancer t14 is often a Y-shaped tree, here a Y person flanked by the only two scarabs in the work as determinants of time and regeneration. The scarabs mimic dancers with both arms up and hands bent inward, as of Naqada dancers. Feathers, maces, genitals, belt tails and horses appear in all pirate art (see theme t13). H people, house people or footprint people seem to favour Cancer t14 and Gemini t15, former and current midsummer and celestial polar hosts. Heads or faces all over the work, probably understood as ancestral souls, express the Gemini t15 theme. Virgo t11 wears a face on her body, incidental with her pregnancy. Pisces t4 and Aquarius t5 are near horizontal, typical of t5. Some galactic equator sections are marked by tight rows of small figures in a kind of snake dance. A distorted periphery, as usual, conceals the figures equator, as well as one near symmetrical and one distorted galactic equator (the galactic circles and their gates are here marked in error, they should cross the main equator between ge15 and ta2, and between sg7 and sc9). A celestial polar marker on a head and the vertical plane, tag the inspiration as Age Aries-Pisces, in the last few centuries before about BC 150, perhaps incidental with the work. Asian pirates with scarabs

Type 14 Mixer or Cancer as Y-people with scarabs (Asian Tien Shan range, Kangjiashimaji heads. After Scen.org. Typology and axial grid by Edmond Furter). Type 14 is often a Y-shaped tree, here a Y-person flanked by the only two scarabs in the work, as determinants of time and regeneration. The scarabs mimic dancers with arms up and hands bent inward, as of Naqada dancers. Feathers, maces, genitals, belt tails and horses appear in all pirate art (see the post on type 13 Heart or Leo). H people, house people, or footprint people, seem to favour 14 Mixer or Cancer, and 15 Maker or Gemini, former and current midsummer and celestial polar hosts. Heads or faces all over the work, probably intended as ancestral souls, express type 15 Maker or Gemini (often a face). 11 Womb or Virgo wears a face on her body, incidental with her usual pregnancy (womb). 4 King or Pisces, and 5 Priest or Aquarius, are near horizontal, typical of 5. Some galactic equator sections are marked by tight rows of small figures in a kind of snake dance. A distorted periphery, as usual, expresses the ‘equator’ of types. A near symmetrical and a distorted cycle of limb joints expess the galactic equator (here marked in error, they should cross the main equator of eyes between types 15-2, and 7-9). A celestial polar marker on a head, and on the vertical plane, tag the inspiration as Age Aries-Pisces, in the last few centuries before about BC 150, perhaps incidental with the work.

 

Hopi ancestral caves in the mound of creation
Hopi ancestral caves in the mound of creation

Type 15 Maker or Gemini as four ancestors with a skull and an arm (Mexican seven caves in Mt Mashu, of Hopi myth. After Wikimedia. Typology and axial ocular, eye-to-eye grid by Edmond Furter). The skull is a kind of white face, typical of 15 Maker or Gemini (often a face). The arm totem may express the concept of smiting a twin or rival, or double-bodied, as multi-armed principles (gods) in Indian art do.
The churner on the mound in a canine skin is in the gate, between the caves of 15 Maker or Gemini, and 1 Builder or Taurus, thus a type of Gemini decan Monoceros and Gemini decan 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.

Alchemical and Rosicrucian emblem of natural structure as the ideal scientific structure.
Alchemical and Rosicrucian emblem of natural structure as the ideal scientific structure.

Overworked mirror of art and nature

Type 6 Exile or 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, confirming that archetypal featues 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 the allegory of the mystical marriage of Christian Rozencreutz, with seven processes of alchemy, under seven planets. Even standard astrology is scrambled here (in a semi-circle, with signs out of sequence), 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 labels; Characters (noting archetypal features);

01 Builder or Taurus; Blindfolded quester, following nature and instinct to the hidden work.

02 Builder or Taurus; Sign Aquarius (rain, here due to scrambled astrology).

03 Queen or Aries; Sign Aries (ovid, archetypally correct).

04 King or Pisces; Saturn as king (king) of time (more typical of 14). And sign Pisces (archetypally correct).

04p Gal.S.Pole; Moon and Jupiter. And between signs Capricornus (as a fish centaur) and Cancer (the analogous two constellations hosted summer and winter in Age Aries. The analogous two types, 6 and 14, both have polar functions between the ecliptic and celestial planes).

05 Priest or Aquarius; Phoenix (active posture, ascension), dappled (varicoloured) world spirit (world). Under sign Gemini (irrelevant).

06 Exile or Capricornus; Mercury (some of its mythical features are relevant to 6); under signs Gemini and Virgo (irrelevant). His kicked-out leg is the Venus part of his Mars-Venus sigil (see dance illustrations in the Hypnerotomachia Poliphili, discussed in Mindprint); his feathered headdress as Mars; his fount as ‘bath’ for planets, perhaps winter in Age Aries. The artist and the tradition did not consciously understand Mercury as potentially a multi-headed or horned Pan or Paris.

07 Child or Sagittarius; Bauble (bag) on the sun’s staff. Under sign Virgo (irrelevant).

07g Galactic Centre; Sun’s foot (limb-joint), also figured by two eyes on a sun face on the dome, one of which marks the ecliptic pole. Under sign Leo (irrelevant).

08 Healer or Scorpius; Mars (irrelevant). Under sign Sagittarius (irrelevant).

09 Healer or Scorpius; Venus (irrelevant), V-posture (arms up). Under sign Scorpius (archetypally correct).

10 Teacher or Libra; Scales (balance) of sign Libra (archetypally correct), including a beam (staff).

11 Womb or Virgo; Bull of sign Taurus (irrelevant), axis to her belly (womb).

13 Heart or Leo; Man, axis to his chest (heart), finding a route into the mount (interior), 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, and cattle in a U-gate, in Mindprint).

14 Mixer or Cancer; Rabbit entering a hole in the mount (more often a bear, lynx or bees).

15 Maker or Gemini; Rabbit (rampant, more often canid).

15g Gate; Alchemist’s hand (limb joint), at the staircase (juncture).

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 supposedly ‘secret’ tradition of alchemy is based on chemistry, thus on glimpses of natural structure, a means to transformation and an end in itself. The craft’s conspiracy aspects have been overrated, and its structuralist aspects (leading to the discovery of the periodic table) have been underrated.
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.

Lapp drum skin cosmogram with upper and lower worlds.
Lapp drum skin cosmogram with upper and lower worlds.

An Age Aquarius world tree

Type 5 Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Typological labels and axial grid by Edmond Furter). The drum cosmogram healing tradition had updated its visions with Christian elements, and its sun rooted in type 4 King or Pisces, in Age Pisces, the Christian era (see Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill in De Santillana and Von Deschend’s Hamlet’s mill; and critique of their ambiguous findings in Mindprint and Stoneprint). The flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era (which occurred in 2016). The ritual officials are named Juksakka, Sakarakka and Madderakka. Their rectangular fish pond or ice fishing hole has an astronomy counterpart in the Pegasus Square, here displaced to type 3 Queen or Aries (pool).
Type 10 Teacher or Libra is a tree or branch, as it is in a South African Amatola work (see Mindprint); but branches are more usual at the cardinals, 90 degrees from of 10; at 14 Mixer or Cancer, and 6 Exile or Capricornus (see cosmic crosses in Egyptian and Mexican palettes, and the Externsteine carving in Mindprint).
There is no limit to what artists could express, and what all people could subconsciously know, individually and collectively. Language, art, music and conscious or semi-conscious symbolic codes are all parptial expressions of human experience. Conscious experience could only partly comprehend nature or archetype. Making and viewing artworks (and rituals, divination, healing and other media), supports the human need to express, create, celebrate and share inspiration, styled in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, is as adequate or inadequate as any myth or art could be.

Celestial polar markers on a calibrated ladder, as a gauge, tag for a series of Ages, up to the hand of the central celebrant, and the hand of World man (a type 5 priest or Aquarius stand-in) at the Age Aquarius start, subconsciously setting the time-frame of the Age Pisces-Aquarius transition in iconographic and cosmological terms. This is one of very few works found to tag for Age Aquarius.

Mayan palette with two antiithetical dogs, directly comparable to the famous Egyptian 'Two Dogs' palette.
Mayan palette with two antithetical dogs, directly comparable to the famous Egyptian ‘Two Dogs’ palette.

Dogs of a jungle paradise

Type 10 Teacher or Libra as a dog (canid), and 9c Basket Lid as a lid or wheel (Mexican dogs palette. Mayan culture. Typology labels and axial grid by Edmond Furter). A rare error in pairing places type 10 off the axial grid, with no counterpart at type 3 Queen or Aries; yet type 2c Basket, here a coil or backpack (basket), is opposite the 9c Basket Lid (it was labelled ‘ar’ for type 3 Aries in error, to be corrected in a future post or edition. See a basket lid with Buddha’s death in Mindprint). Lids, discs, wheels or mechanisms are typical of the four half-types (see a marble sarcophagus with a Cista Mystica, in Mindprint). The astronomical counterpart and antipode (spherical opposite) to the 2c basket or rope of the Medusa head (with mythical snaky hair, wrapped in a cloth by the hero Perseus), at 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 snake shrine god Serapis (which had temples in Greek, Roman and Egyptian classical cities such as Ephesus). UFO theorists may want to study these icons for clues on unidentified vortexes, lids, hats (sometimes blue), snakes, wolves, black dogs, centaurs, healers or scaly teachers leaning on two sticks, that tend to appear in art in this particular conceptual position.
Spring and autumn have long since left the Pleiades and Scorpius, yet the petrifying eyes of Taurus Perseus Algol Medusa, or mystic basket, remain fixed in archetype, and thus in myth and other media. It is opposite at the type 9 Healer or Scorpius, decans Lupus tail and Hydra tail, or Basket Lid; equally fixed in various cultural media.

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 type 9 Healer or Scorpius, and the adjacent 10 Teacher or Libra as law enforcer wheel turner. They share Lupus as a decan. Some mythical doors are identified with 10 Teacher or Libra (see wheel-shaped Mexican caves above). The central disc may also figure an eclipse (typical of type 3 Queen or Aries), caused by sun and moon, the largest pair of natural ‘marbles’ or eyes.

Central woven vines or bark ropes may indicate an ayahuasca brew as trance inducer (see a separate post on ayahusca, mescaline, peyote, mushroom and chocolate art).
Celestial poles, here on a knot (juncture) and a jaw (limb joint), and on the vertical plane (orientation), tag the inspiration as Age Pisces late, the era of the work.

Ode on an arrowhead

I am preparing some regional or ‘cultural’ editions of the book Mindprint, to better represent the cultural context of arworks and building sites representing thousands of African, American, Near Eastern, classical and modern subconscious expressions of global ‘grammar’ or structure. These editions will include some classical and modern alchemical emblems and texts, and examples of the expression of cultural structure in myth and literature (Mindprint already has a chapter on a Mishnah verse); and more on the implications of the identification of subconsciously expressed archetypal structure for various sciences.
Below 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 found an American flint arrowhead and wrote in his diary that it was an indelible “mind print” of man, along the erased footprints of men. Loren Eisely developed the term; “Mankind does not have enough evidence to determine exactly how humans came to be.” And in his book 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 some of the illusions of science in 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 builder 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 exiled 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 child.
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 prances or falls a lion,
his claws and fangs to feed the eye in his hungry heart.

Fourteenth strains inward or away a small figure mixing elements and counting time,
its opposite partner likewise near or far from the core.

Fifteenth and at the start, a maker and moulder ropes souls to the soil to smite the states 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, revised 2019

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Mindprint art examples

Mindprint on the Narmer palette front

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 (after Furter 2014; Mindprint).

Type label; Character, (archetypal feature); Decan

  • 03 Queen or Aries; Spouted pot (bent neck); Cetus Tail.
  • 02 Builder or Taurus; Large star (spring?); Pleiades.
  • 01 Builder or Taurus; Sandal-bearer (twisted); Orion.
  • 15 Maker or Gemini; Hathor cow frontal (face); Ursa Minor.
  • 14 Mixer or Cancer; Catfish hammer and chisel, far from the centre (egress), Y-shaped (tree); Ursa on Cancer on Hydra head.
  • 13 Heart or Leo; Horus falcon (raptor); Leo Minor?
  • 11p Galactic Pole; Horus hand (limb-joint); Coma Berenices.
  • 11 Womb or Virgo; Horus abdomen (womb). And an Asiatic marsh subject; Crater?
  • 10 Teacher or Libra; King’s brother’s genitals and hand (bent neck, of 3 opposite); Bootes.
  • 09 Healer or Scorpius; Defeated enemy (twisted, of 2 opposite); Corvus?
  • 08 Healer or Scorpius; Ribbon (snake); Serpens.
  • 07 Child or Sagittarius; Prisoners’ hands (rope); Cygnus?
  • 06 Exile or Capricornus; Prisoner (sacrifice), near the centre (ingress); Piscis Austrinus?
  • 05 Priest or Aquarius; Pond (water); Pegasus Square.
  • 04p Gal.S.Pole; Heel (limb joint) of twin (typical of 4); Cetus?
  • 04 King or Pisces; Heel (typical of 4p) of king (king).
  • The celestial pole marker is on the king’s genitals or shoulder (limb joint), confirmed by the vertical plane of the work. These markers place ‘midsummer’ in Cancer, thus ‘spring’ and the cultural time-frame in Age Aries or just prior.
  • The general theme on the reverse of the palette is type 3 Queen or Aries, typical of dragons.

The palette carries the same figures, and nearly the same sequence of features, on both sides. On the front, the characters are in a court or festival context, centered on type 15 Maker or Gemini as a smiting, ordering, re-creating pharaoh. Several optional links flip the sequence between the two sides, in the ‘transparent’ method also used in some Egyptian murals.

On the palette’s reverse side, type 13 Heart or Leo is a dwarf, symbol of a client culture paying homage. The dwarf resembles a figure in Queen Hatshepsut’s Punt colonnade, perhaps a Khoe Queen of Sheba.

Mindprint types and structure on the Narmer palette rear (Edmond Furter). The artefact is discussed in more detail among illustrations themed on type t3 t18 Aries in the book.
Narmer palette rear, with standard structuralist labels and axial grid. The artefact is discussed in more detail among other illustrations themed on type 3 Queen or Aries in the book.

The dwarf’s function and conceptual role is as important as the tribe he or she represents. On the subconscious level, the royal figure and heart of type 12/13 Heart or Leo are expressed in a foreign but compliant leader from the interior that feeds the Nile. Some dwarfs are seen as rainmakers (Tressider; Watkins Dictionary of symbols). Empire needs flattery by tribes with apparently semi-human features or languages, considered more in touch with animals and nature, and thus used as rainmakers, herbalists, and fertility or defensive spell casters.

Bushmen and Khoe or Nama (born of occasional pre-Bantu and pre-colonial admixtures) fulfilled these functions to migrating Iron Age African Bantu tribes, and to emergent mixed Korana, Griekwa and Amatola bands in South Africa. They served white settlers even during the systematic genocide and cultural extinction of Bushmen by regional masters such as the Zulu, Dutch and British.

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Mindprint art examples

Mindprint in De Cosimo’s Discovery of honey

Types 8 Healer as a giant tree stump face, hosting a bee colony, with satyrs and people collecting honey and brewing mead (Pierro De Cosimo; Discovery of honey. Typology labels and axial grid by Edmond Furter).

Most characters in the artwork, as in all artworks, are identified by some archetypal features (gender, posture, function, implements or relative position), confirmed by the position of their eyes on an axial grid of opposite pairs.

Type label; Character (noting archetypal features); analogous hour decan:

1 Builder or Taurus; A satyr kid below an adult hand, recalling the goat kids of Artemis; decan Auriga.

2 Builder or Taurus; Crouching (twisted) leader, with a mirror or ladle (rainmaker); decan Orion.

3 Queen or Aries; Wielder of bellows or hammer, instruments of sacrifice (sacrifice); decan Triangulum.

4 King or Pisces; A male, with hive cakes or an implement of two rectangles (rectangle); decan Pegasus.

5 Priest or Aquarius; Priest (priest), prominent (large), with a tuning fork (U-shape, of type 6). Of human appearance, positioned between satyrs and women with human items; decan ?

6 Exile or Capricornus; Boy (child, of type 7), with only lower legs of a goat (Pan); decan Capricornus tail knot.

7 Child or Sagittarius; A centaur, more animal than human; decan Sagittarius.

7g Galactic Centre; Spring or pool (water, juncture); decan ,,,,

8 Healer or Scorpius; Trunk (pillar) mouth, hive of honey (healer, and trance induced by lowered blood pressure and buzzing bees); decan Ophiuchus, Snake Holder.

10 Teacher or Libra; Arm in V-posture (arm/s up), with herbs (staff?); decan Bootes.

11 Womb or Virgo; A midriff (womb); decan Spica.

12 and 13 Heart or Leo; Two chests (heart, heart); decan Ursa and Leo.

14 Mixer or Cancer; Eyes of the types 12 Heart and 11 Womb characters (mixture); decan Hydra head? This type is one of the general themes in the work, of satyrs or goat-people (mixture), mead (brew, transform), and supposed evolution (time).

15 Maker or Gemini; Bacchus (churn of bodies or souls), carrying a passenger (doubled). Axis 15 continues to another doubled figure, a satyr carrying a companion (doubled. See a jackal abducting a sheep in a paradise parody by Cyril Coetzee; T’Kama Adamastor).

Characters in all artworks express optional features, with some minor structuralist imperfections. Here type 7 Child or Sagittarius has his back turned, more usual of adjacent 8 Healer, decan Ophiuchus (which here is combined with type 9 Healer or Scorpius). Type 3 Queen or Aries has it axis not on its eye, but on its hand holding a bellows or hammer, which is a kind of bag or formling, more typical of the types flanking the four galactic corners. The overall sequence and structure remains clear.

‘Cosmic’ equators

The ragged oval or characters is analogous to the Ecliptic Equator in cosmology. The outline in complex works often includes some line economy, uding a continuous line, as here between the eyes of types 1, 15 and 14.

The two ‘Galactic’ Poles (4p and 11p), imply two ‘galactic’ equators, usually on a series of limb joints (here marked by thin, oblique semi-ovals), always crossing the typology outline or ‘ecliptic’ equato between 1-15 and between 7-g. The two ‘galactic’ equators overlap in the interior, and continue around two different ‘hemispheres’ as two exterior lobes. These two equators often divide compositional groups, as here they divide the culture group of people, v the nature group of satyrs.

Subconscious inspiration and conscious composition always overlap, yet artists are not aware of using attributes, postures, a figure sequence, eyes or limbs in the service of any detailed or standard structure. The five layers of cultural expression is inherent in the materials, themes, perceptions and ‘grammar’ or ‘DNA’ of human nature.

Polar triangles in art

The galactic pole (type 11p, or pG) is always near the equator, between types 12 and 11 (decan Crater, Grail); usually on a limb joint, here on the shoulder of a crawling figure, perhaps drunk with mead and thus relevant to grail and elixir themes.

The celestial pole (pC) is usually on a limb joint near the axial centre, and on or near the axis of the current or recent summer solstice, thus near axis 13, 12, 14 or 15. Here the celestial pole is on the shoulder of a satyr mother, between 14 and 15, where the celestial pole was in Age Aries late; but her elbow marks an earlier Age (of a perceived natural and cultural paradise) and her jaw (often a polar point) marks Cosimo’s forthcoming (now current) Age Pisces-Aquarius.

The ‘galactic south’ pole, 4p or pGs, is always between axes 4 and 5, but not always marked. Here it is on the jaw (limb joint) of an extra character (identified on an eye in error, before the role of limb joints was statistically confirmed).

The ‘celestial south’ pole on the hip of type 3 Queen or Aries tags the inspiration as Age Aries late, or Age Pisces early, at the time of the perceived formation of De Cosimo’s Christian culture.

Inspirational dating is a subtle geometric, mythical, conceptual and iconographic aspect of cultural expression, demonstrating the depth of the holographic structure in artistic inspiration. Even gifted nature spirits such as De Cosimo, on par with the best artists and rock artists in the world by any definition, did not consciously know mindprint, and could not fake it.

Both sides of a flat sphere

Mindprint structure is analogous to a sphere, imagined from above the sun, and simultaneously from above the earth. Armillary spheres, the basis of time and navigation instruments such as astrolabes, also express space and time by these two apparently contradictory perspectives. In addition to the dual ‘angelic’ perspective from infinitely far above (which is north in archetype, as it is in convention), the mirrored perspective from the south is included in cultural media and expressions. A model of perception requires parts of two armillary spheres, the northern one flared out and cut generously around its equator to retain zodiac and southern decan asterisms (see the cosmology image in another post); as well as the complete southern galactic equator. The southern hemisphere is cut stingily to avoid zodiac duplication, but its mirrored view of the galaxy is retained partly inside the ‘squashed’ centre, and partly on the flared rim outside the equator of characters.

Thus artworks contain two armillary sets, of three poles and five equators each. The central poles appear as one point, since they are viewed or ‘squashed’ along their own axle, revealing that culture is spatially ‘projected’ on the ecliptic plane, leaving the celestial and galactic equators oblique. Celestial equators are not shown in structuralist analyses, for the sake of simplicity.

There are no degrees of difficulty in the miracles of nature, perception and cultural expression. The resulting myth map differs from astronomical maps in reducing the celestial pole (of daily rotation) to a minor role; to focus on the ecliptic plane (of yearly orbit).

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Mindprint art examples

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, 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.