Archetype in Dilmun seals Structuralist analysis of miniature artworks

Archetypes in Dilmun trade seals, Egyptian cylinder seals and cotton spindles

Some trade seal stamps from Bahrain, of Dilmun culture; some rare pre-dynastic Egyptian cylinder seals; and some late Egyptian cotton spindle ‘buttons’, are among the 50 seals and stamps used to demonstrate that miniature artworks and ancient logos subconsciously express the universal five layers of culture, identical to larger artworks, but with a few structuralist compromises (for often having fewer than the minimum twelve eyes). Here is an extract from Stoneprint Journal 5 (where 30 of the 50 ancient miniature artefacts are demonstrated, and statistics of the average frequencies of typological features are expanded).

A metals trade logo

General themes in this Dilmun trade seal include type 4 King or Pisces, of fields, ore and furnace; and 10 Teacher or Libra, of trade, metallurgy, ecology (here antelopes, spices, alloys). Every artwork expresses the same ‘grammar’.

Arabia, Bahrain, Dilmun trade seal (Failaka Island palace, BC 1000s, soft stone, 4.8cm, inventory 8480. after Bharatkalyan). It could be read as Indus trade language writing, Meluhha, Mleccha, listing copper, tin and bronze of a merchant (typology and axial grid by ED Furter).

Type label; Character (noting archetypal features):

1 Builder or Taurus; Flower, Tabernae Montana, or pole star, or iron, medha, NO EYE.

2 Builder or Taurus; Rooster (bird) at sprout or ‘furnace’, kolmo, kolami.

2c Basket; Fields, division, stone, ‘ore, furnace’ (weave, grid), khand. The four c-types are off the grid.

3 Queen or Aries; Herder /trader /smelter, arm up (of 10 opposite, smith), or copper, eraka (market, of 10 opposite).

4 King or Pisces; Smelter? (furnace) kneeling (squatting) behind trader (twins).

4p Gal.S.Pole; Smelter’s foot (limb).

5a Priest or Aquarius; Antelope and bent staff /spice /merchant (varicoloured).

5b Priest or Aquarius; Horse head (hyperactive, tailcoat head, equid).

6 Exile or Capricornus; Herder?, nearer the centre (ingress).

7 Child or Sagittarius; Ostrich? (bag?).

7g Galactic Centre: Field /ore (juncture).

8 Healer or Scorpius; Smelter? (damaged).

9 Healer or Scorpius; Antelope /spice /bronze merchant, (of 10, metallurgy, market).

9c Basket Lid; Straw to crops or furnace? (10, metallurgy, market).

10 Teacher or Libra; Twig (staff) /ear of millet (of 11) /’ore /metal’, adaru, kande (metallurgy, market).

11 Womb or Virgo; Throne (interior), /’furnace’ (of 4 opposite), kando, kandi.

11p Galactic Pole: God’s elbow (limb).

12 Heart or Leo; God’s chest (heart).

13 heaert or Leo; God with straw and cone hat.

13c Basket Head; Cone hat (weave), beer strainer /metallurgy?

14 Mixer or Cancer; Antelope /spice /’bronze /trader’, near the centre (ingress).
15 Maker or Gemini; Two bulls (doubled) /cast metal, dul, wire (rope). Of herder /smelter (churn, re-creator), ’bronze /trader’, tangara /damgar, with drinking straw (rope), kuthi.

The celestial poles are on an antelope jaw, and hip (limb joints), placing ‘summer’ in Leo, thus ‘spring’ and the cultural time-frame in Age Taurus2, confirmed by the sprout.

Order the guide to archetypes in ancient seals here:

An antelope cargo boat

General themes in this Dilmun trade seal stamp from Bahrain, include type 6 Exile or Capricornus, of sacrifice (here four assaults), reptile (here two croc-men and a fish), amphibian (here the ibex-boat), horned (ibex, giraffe and antelope), and double-headed (here double-bodied bird-man and croc-men).

Bahrain island, Dilmun trade seal with antelope boat (after Metmus. Typology and axial grid by ED Furter).

Type labels; Character (archetypal features):

2 Builder or Taurus; Bird-man (bird) grasps and bites (twisted) a dog.

3 Queen or Aries; Fish (tail, decan Cetus tail).

4 King or Pisces; Giraffe (equid, decan Pegasus), kneeling (squatting), perhaps analogy for a furnace?

4p Gal.S.Pole; Croc-man B’s hand (limb joint).

5b Priest or Aquarius; Croc-man B (varicoloured, water. Reptile is more usual at 6) chest (heart of 12).

5c Basket Tail; Croc-man B’s tail (tail).

6 Exile or Capricornus; Antelope looking back (sacrifice, small, horned).

7 Child or Sagittarius; Wolf jaw, NO EYE.

9 Healer or Scorpius; Wolf (of 9c, canid).

10 Teacher or Libra; Ibex-boat womb (of 11), carrying ore? (market, metallurgy).

11 Womb or Virgo; Ibex-boat’s cargo hold (interior, wheat).

13 Heart or Leo; Ibex-boat’s chest (heart, water-work).

13c Basket Head; Croc-man A’s tail (head or tail).

14 Mixer or Cancer; Croc-man A steering ibex-boat. And the ibex-boat (decan Hydra?).

15 Maker or Gemini; Dog (canid) v croc-man, itself bitten by a bird-man, NO AXIS.

The celestial south pole is on the giraffe knee (limb joint), placing ‘winter’ in Aquarius-Capricornus, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries.

When Egypt was an outpost of Sumer

General themes in this rare pre-dynastic Egyptian cylidiner seal, include types 3 Queen or Aries (long necks, spring, equid); 5a Priest or Aquarius, typically varicoloured (here giraffe skins), hyperactive (ritual), priest, hearts, equid); 15 Maker or Gemini, typically bag, doubled (here giraffes), churn (here around the tree). The item and style demonstrates a shared heritage with Sumer. The subconscious structure demonstrates the universal elements in cultural media. The five structural layers of expression are subconscious to artists, architects, builders and members of any culture.

Egyptian rollout, with the cylinder seal (Helwan tomb 160 H3, Naqada IIIa2b. After Saad, SASAE, 1947, p165-166, fig14. Tracing Kohler 1999. Typology and axial grid by ED Furter).

Type labels; Character (archetypal features):

2 Builder or Taurus; Giraffe B (bovid), NO AXIS.

2c Basket; Herb tree (weave). C-types are off the axial grid.

3 Queen or Aries; Giraffe A (long neck, ‘equid’).

4 King or Pisces; Horus (prince) falcon sitting (bird, squatting) on palace (rectangle).

4p Gal.S.Pole; Priest’s finger and Horus foot (limb joints).

5a Priest or Aquarius; Priest (priest) with loincloth herbs bag (tailcoat head) and kilt (sash).

5c Basket Tail; Palace serekh (container).

6 Exile or Capricornus; Herbs bag (of 7), small, far from the centre (egress), NO EYE.

7 Child or Sagittarius; Herbs bag (bag, unfolding) on a string (rope). SWOPPED AXIS.

7g Galactic Centre: Feet (path).

9 Healer or Scorpius; Giraffe A’s heart, NO EYE.

10 Teacher or Libra; Herb roots (V-posture, staff).

11 Womb or Virgo; Tuber bulb (womb /interior, crop).

12 Heart or Leo; Giraffe B’s chest (heart).

13 Heart or Leo; Crocodile’s chest (heart, death. Decan Ursa), NO AXIS.

13c Basket Head; Crocodile’s crown (head).

14 Mixer or Cancer; Tuber (tree), near the centre (ingress), NO EYE, NO AXIS

15 Maker or Gemini; Crocodile, twists victim’s necks (churn), climbing (rampant).

The axial centre or ‘ecliptic pole’ is unmarked as usual. The horizontal plane places ‘summer’ in Leo12-Leo13/Cancer, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre. The time-frame is usually the Age before the work, but many transitional era works express their contemporary time-frame. Some works intended as legacy, equally subconsciously express their forthcoming Age. Either way, there is no reliable dating in the currently known layers of natural or cultural structure. Archetype exists independent of time and place, and allows expressions of, and in, times and places.

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Scarab leg as a dung ball ‘womb’

General themes in this cotton spindle include type 15 Maker or Gemini, of rope (here cotton from the spindle), order, bag (clothing from cotton), doubled (two twines and holes), creation (cloth), and churn (spindle); and type 10 Teacher or Libra, of discs (here the spindle itself, and the sun disc), and carousel (roundel of characters); and 9c Basket Lid, of discs and woven texture (cloth).

Egyptian cotton spindle or button with scarab (after LA County Museum. Typology and axial grid by ED Furter).

Type labels; Character (archetypal features):

2 Builder or Taurus; Rosette (cluster), NO EYE.

2c Basket; Rosette streamers or water (weave). C-types are off the grid.

3 Queen or Aries; Woman (queen?) with rosette or cup (sacrifice, spring).

4 King or Pisces; Snake coiled.

4p Gal.S.Pole; Queen’s rear knee (limb joint).

5b Priest or Aquarius; Snake heart (of 12).

5c Basket Tail; Snake tail (tail, weave).

6 Exile or Capricornus; Animal (sacrifice, horned), NO AXIS.

7 Child or Sagittarius; Animal’s young (juvenile) drinking.

7g Galactic Centre: Boat (water, path).

9 Healer or Scorpius; Boat stern mascot head (pillar, bent forward), NO AXIS.

9c Basket Lid; Sun in boat (disc).

10 Teacher or Libra; Boat mascot (staff, market).

11 Womb or Virgo; Scarab rear foot, implied dung ball with larvae (womb). This symbol is conscious, but most of the features of the other types, their sequence, the axial grid, the polar markers, and the resulting time-frame, are subconscious, and unknown to artists and users everywhere.

Egyptian cotton spindle or button with scorpion and boat (after LA County Museum. Typology and axial grid by ED Furter).

Another scorpion

The scorpion here subconsciously expresses type 15 Maker or Gemini, probably its decan Ursa Minor. The sting in its tail expresses type 14 Mixer or Cancer, which shares the same decan with Gemini. Scorpions are rare as a typological species (expressing type 8/9 Healer or Scorpius at only about 4% average frequency). The current Western zodiac includes some high, medium, and low frequency archetypal features, partly due to differences between the subconscious ecliptic grid of archetype, and myth, and the celestial grid of semi-conscious symbolism. Crayfish is a more typological species, expressing type 3 Queen or Aries as two kraken or water dragons in vertical antithetical posture; or type 14 Mixer Cancer as two sea creatures in different directions in horizontal posture; both at low frequencies. As noted in Mindprint (2014), every bull is not Taurus (but the character in the position of type 1 or 2 in all artworks and building sites, is bovid in 19% on average. This average is confirmed in a sample of 50 seals and stamps, of which 30 are demonstrated in Stoneprint Journal 5).

Live and die by the blade

Egyptian battle scenes on land and water (Gebel el Arak ivory knife handle rear. Fitted to a flint blade. Louvre. Typology and axial grid by ED Furter).  General themes on this side of the ancient ivory miniature masterpiece include type 3 Queen or Aries; of sacrifice, pool, spring (battle campaign season), daggers (worn by some warriors here; decan Triangulum, Knife, as the artefact itself is). The themes and most symbols are conscious, but the five structural layers of expression are subconscious to artists, architects, builders and members of any culture.

Gebel el Arak ivory knife handle rear (Louvre. Typology and axial grid by ED Furter 2015).

Type labels; Character (archetypal feature):

2 Builder or Taurus; Warrior I (twisted, sacker).

2c Basket; Captive H. C-types are off the axial grid, between the axes of the two adjacent types.

3 Queen or Aries; Warror D.

4 King or Pisces; Warrior C (king?) versus equal (twins?).

4p Gal.S.Pole; Feet of B, (limb joint).

5a Priest or Aquarius; Prisoner, B.

6 Exile or Capricornus; Mace smiter, far from the centre (egress).

7 Child or Sagittarius; Mace smiter, E.

7g Galactic Centre: Middle register (juncture).

9 Healer or Scorpius; Sailor A, with ropes (of 7, posture of 10).

9c Basket Lid; Rope coil (weave).

10 Teacher or Libra; ? DAMAGED.

11 Womb or Virgo; Casualty A, midriff (womb), drowning (water).

11p Galactic Pole: Ship hut (juncture).

12 Heart or Leo; Casualty (death), axis on chest (heart, war), sinking (inverted).

14 Mixer or Cancer; Casualty C.

15 Maker or Gemini; Ship standard post B (doubled, sceptre).

15g Gal.Gate; Middle register (juncture).

The ecliptic pole is unmarked, as usual. The celestial pole is on a ship standard (juncture). The celestial south pole is on combatant F’s shoulder (limb-joint). These markers place ‘summer’ in Cancer, thus ‘spring’ and the cultural time-frame in Age Aries.

Egyptian wooden tag of oil jars of King Den, Abydos, including early hieroglyphs (Petrie. Image after Spencer. Typology and axial grid by ED Furter).
Ivory label of king Djet. Hieroglyphs also express characters, which subconsciously express the standard five structuralist layers of archetype. Without this visual ‘grammar’ the work would be incomplete, and probably be incapable of expressing the more simple and more arbitrary layer of conscious correspondence that allows writing.

== Extract from Stoneprint Journal 5, Culture code in seals and ring stamps., order on this link;

Consider including the book Mindprint in your order.

Or order from Four Equators Media in Johannesburg, with the book Stoneprint, on edmondfurter at gmail dot com