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Mindprint the subconscious art code Structural art analysis using mindprint Structuralist analysis of miniature artworks

Artistic logic in Henry Holiday’s Hunting of the Snark

The nonsense limerick poem Hunting of the Snark demonstrates several ironies, apparent contradictions, and hidden meanings. The quest is an analogy for scientific exploration and British empire enterprise; both could be imagined in the dock on charges of Trespass, Libel and Contempt as in Barrister’s dream. Author Lewis Carroll (1876) is the pen-name of Oxford mathematician Rev Charles Lutwidge Dodgson (d1898), who also wrote maths papers and books, and was a deacon, but not a full priest. This post applies archetypal structuralist analysis to the Snark for the first time, to demonstrate how Henry Holiday’s illustrations subconsciously express apparently different, yet structurally standard versions of universal archetypal layers. The artist added Hope and Care (or ‘With’) to the crew of ten, probably from a subconscious compulsion to complete the minimum number of characters required to express archetype.

Britain, a legacy of Rome despite her abandonment in the Dark Ages of AD 400s to rival raiders and local kings such as Arthur, regained Roman culture after the Norman conquest. The eventual nation of shopkeepers, brokers, bankers and explorers feared disorder and chaos, as psychological defense against personal annihilation (after Kelly). Religion and science have taken turns in shoring up a sense of order. Bellman’s Rule of Three; character names all starting with B; jaunty rhyme and meter; and a tragic-comic format, all attempt to impose some order [15] and meaning on the apparent chaos of lefend. But motifs in legend, poetry and art is never random or meaningless, and usually recurrent (Thompson1928, 1961. Uther 2011. McCormic 2011). Rigorous analyses of three illustrations below demonstrate that many features of subconscious behaviour, perception, and meaning itself is now measurable in standard terms (see also ATU catalogue legends demonstrated in afterlife themes, in three posts on Oracle of the Dead, on http://www.stoneprintjournal.wordpress.com).

Nonsense style was also used by Thomas Hood; and in Gilbert and Sullivan musicals, such as Bad Ballads; and in early movies by Charlie Chaplin. Carroll was a satirist, and keenly aware of controversies between religion and science. Snarking once described a sound, perhaps of derision. Snarky once meant snappish, sarcastic, impertinent or irreverent; but recently back-formed again to mean mocking irreverence or sarcasm. The poem may have been inspired by the violent death of Carroll’s beloved uncle, Robert Wilfred Skeffington Lutwidge, inspector of asylums, by a violent patient (Torrey et al 2001), and other personal losses.

In the plot, a crew of ten tries to hunt the Snark, easily confused with the highly dangerous Boojum. Baker may symbolise the author, with his 42 boxes after Thomas Cranmer’s 42 Articles of religion, the last on eternal damnation. Baker finds a snark but vanishes in black ash, indicating that he found a Boojum, perhaps punished as Cranmer was burned; perhaps bafflement at finding laws of nature (Cohen 1995). Banker is attacked by a Bandersnatch, pays a ransom, but loses his sanity or logic.

Unwritten rules in nature and culture

Bellman, according to Carroll’s preface, follows obscure Naval Code, pathetically reading out Admiralty Instructions which none of the crew ever understood, “but fastened anyhow across the rudder”. Rule 42, the last, is ‘No one shall speak to the Man at the Helm,’ completed by the Bellman himself with ‘and the Man at the Helm shall speak to no one’. Thus Carroll indicates that the search for unwritten, inherent rules or laws of nature and numbers are part of his theme in Snark. Collective behaviour is indeed guided by a code that many sciences suspected, but no-one understood before 2010 (Furter 2014).

The present study of recurrent features in behaviour, to reveal archetype in nature and culture (Furter 2014; 2016), was inspired partly by the Mike Batt’s musical version of Hunting of the snark. In this idiom, from our own investigations and the bearings on the charts, now we could rise to remark that we think we may be gaining on the snark! There are hints of underlying structure in all media. Discovery that the subconscious expression of archetypal structure, or mindprint, could be measured and predicted, incidentally completes the quest for inherent order; and reveals that cultural identity is as universal as mathematics.

Henry Holiday pictured fables, allegories and church windows

Henry Holiday probably alluded to animals in a 1674 print of Aesop’s Fables, illustrated by Marcus Gheeraerts the Elder (British Museum; Satires 1047, reg. 1868,0808.3286), around king William III with allegorical Religion and Liberty (after Prof L Wolsogen, L; Fig 4/4). Holiday discussed with the author Carroll (Dodgson) possible allegorical depictions of Care and Hope. Holiday was also a stained glass window designer at Powell & Sons (with many designs for American churches), and friend of Rossetti. Tigertail Associates hired artist George Gennerich to restore Holiday’s wood engravings electronically, and partly colorise them.

Holiday’s Banker’s Fate illustration may refer to Image-Breakers by Marcus Gheeraerts the Elder; and to William Sidney Mount’s painting, Bone Player; and to a photograph by Benjamin Duchenne used for a drawing in Charles Darwin’s Expression of Emotions in Man and Animals. These visual citations together demonstrate that art design never replicates other designs; yet the illustration demonstrates again that all complex designs (of more than eleven characters) express specific, complex, universal spatial grammar, beyond the conscious capacity of any artist to learn or fake. Snark’s sections are named Fits, a pun on fitting rhymes to syllabic meters and pages. Structuralist analysis of the formerly invisible five layers of regular, universal features in the artworks, and probably in the character list, now adds another meaning to ‘fit’; artists have to ‘rhyme’ with the inherent structure in meaning and spatial relationships.

Carroll’s Easter sacrifice tragedy

Carroll re-uses a setting, some creatures, and eight portmanteau words from Carroll’s earlier poem, Jabberwocky, in his children’s novel Through the Looking-Glass (1871). The poem is dedicated to a young girl whom Carroll met at Sandown on the Isle of Wight, which he saw as an island of three monsters, “where the Jabberwock was slain”. In the first edition, he included a religious tract; An Easter Greeting to Every Child Who Loves Alice, perhaps to disguise the dark undertone of the pointless expedition, melting identity, apparently unjust punishments of life, and annihilation. Easter Greeting explores innocence and eternal life through Biblical and Romantic allusions from William Blake and William Wordsworth. Yet Easter is a spring sacrifice ritual, thus also a tragedy. Among many legacies of the Snark, are a graph theory; Snark Island in India’s Bengal Bay; Boojum Rock in Andaman and Nicobar Islands; and the excellent but failed 2-m dollar West End musical by Mike Batt.

Motley crew; it takes all types to make a story

The Hunting of the snark crew is listed here by proposed archetypal numbers and the types they probably subconsciously express in Carroll’s text; all named starting with the letter B:

2 Builder; Billiard-maker (builder), skillfull (hero). Or 9; 2v9.

2c Basket; Bandersnatch or subconscious, takes ransom and sanity (monster).

3 Queen; Butcher, math and geology, kills (sacrifice) only beavers.

4 King; Care or ‘With’, a Pandora, added by the artist.

5 Priest; Hope or Britannia, added by the artist.

6 Exile; Bellman, leader (exile).

7 Child; Broker, appraises goods, Jewish.

07g Galactic Centre; ??

9 Healer; Bonnet-maker (lid), hood-maker. Or 2; 2v9.

10 Teacher; Banker holds the crew’s money (balance, metal), loses logic.

11 Womb; Hope? or Britannia’s womb.

13 heart; Beaver (water-work), savious, makes lace.

14 Mixer; Hope? or Britannia.

15 Maker; Barrister, settles arguments.

15g Galactic Gate; Boots, cobbler (‘bag’), invisible or in a barrel (‘bag’).

Axial centre; Snark, of five signs, invisible, confused with Boojum.

04p Pig in dream, accused of deserting its sty.

11p Baker, wedding cakes, courageous, forgetful, vanishes.

Midsummer and Midwinter; Boojum, deadly illogic [3 12], invisible, confused with snark since it moves with time.

Dominant type 5 Priest, of assembly and ritual

Dominant general themes in Holiday’s illustration of Lewis Carroll’s Hunting of the Snark crew or Britannia parade, are revealed by extra features of type 5 Priest, typical of assembly, hyperactivity, ritual, ceremony (here including speeches in the text), sashes (robes) and water (implied by the naval crew); and its opposite type, 13 Heart, typical of weapons (pitchforks and a pitch fork, or tuning fork), war (implied colonisation), bravery and water-work (here implied by a beaver and anchor). This type seems appropriate to part of Rev Carroll’s own identity as a Deacon, and to the conscious theme of colonial and scientific exploration, including vague unease of venturing into foreign territories and somewhat taboo fields of science. Some authors have suggested a theme of search for happiness; or of USA independence and its motto of ‘pursuit of happiness’ as a tragedy for Britain.

Secondary general themes in the Snark parade illustration, include types 5c Basket Tail, typical of oracle, revelation (a vague monster or treasure), and maze (uncharted excursion); and 9c Basket Lid, of hats, instruments, enforcement, and metal (pitchforks, blunderbuss, anchor, sword); and 10 Teacher, of raised arms, staffs (pitchforks, anchor, blunderbuss, tripod), hunt-master (Bellman), guard, market (implied colonisation), council and school (Barrister’s toga); and type 15 Maker, of rope, order (names starting with B), bag, mace, sceptre (empire), doubling (Barrister and Banker resemblance), face (personalities as on coin ‘heads’, obverse of Britannia as ‘tails’). Missing from the illustrations are Boots the invisible cobbler, who may be a subconscious snark; and Baker, missing since attempting to unravel a conundrum; and Boojum, perhaps incomprehensible ultimate reality or archetype itself. This list below reports the characters in the parade illustration, in the standard structuralist anthropology archetypal cycle format.

Henry Holiday; Hunting of the snark parade illustration for Lewis Carroll (Charles Dodgson, mathematician, 1876). Woodcut by Joseph Swain. Colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Parade character (noting archetypal features):

2 Builder; Bonnet-maker? with a fork.

3 Queen; Butcher? (sacrifice) with a chopper?

4 King; Care? in cloak.

5 Priest; Hope? or Britannia (assembly) as emblem (ritual), with anchor (hyperactive, water) and sword (weapon, of 13 opposite); her right eye.

5c Basket Tail; Bell (time, of 6v14). And anchor blade.

6 Exile; Hope? or Britannia, near the axial centre (ingress) with anchor (U-shape); her left eye. And Bellman with bell (U-shape).

7 Child; Anchor point (eyeless, rope implied), as emblem (mace).

7g Gal.Centre; Banker’s top hat (vortex). And anchor point (juncture).

9 Healer; Banker (metal) carrying (bent forward, strong) blunderbuss (metal), tripod stand (pillar) and pitch or tuning fork (metal, trance), a pun on pitchfork; his right eye.

9c Basket Lid; Banker’s glasses (disc, ‘balance’).

10 Teacher; Banker (balance, metal) or Broker (trade), with pitch-fork or tuning fork (metal, ‘balance’) raised (arm up), tripod (staff) and blunderbuss (hunt-master, guard, metal); his left eye.

11 Womb; Midriff (womb) of Hope? or Britannia (water, law), implied British lion (felid).

12 Heart; Beaver (water-work), OFF THE GRID.

13 Heart; Barrister’s chest (heart), carrying a pitchfork (weapon, war).

13c Basket Head; Barrister’s beard (weave).

14 Mixer; Anchor ring, NO EYE, nearer the centre (ingress).

15 Maker; Barrister (order) with wig (ropes), in toga (bag), carrying pitchfork (mace), striding ahead (rampant), with a large face (face), resembling Banker (doubled).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Britannia’s ear?

11p Gal.Pole; Anchor’s cross-bar ruing (juncture). And sea-star (limb-joints) at Beaver’s tail (limb-joint). And Beaver, a lace-maker (rope is more typical of 7g) carrying a microscope.

Midsummer; Britannia’s front shoulder (limb-joint).

Midwinter; Hope’s hip (limb-joint). These solstice markers are on a horizontal plane. The polar triangles place midsummer in Gemini-Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the two types at top centre.

The snark crew parade analysis score is 45/68 archetypal features; 12/16 axial points; 4/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 71/100, minus 1 extra characters off the axial grid; total 70%, in the upper half of the average range of 40-80%. All structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Butcher and beaver calculate a song in Holiday’s snark art

Structuralist analysis of this illustration happens to co-incide with the theme of Butcher transcribing and calculating a Jubjub’s song, “or the sound of pencil on slate”, for his willing student Beaver. Carroll’s limerick is partly themed on a quest to find natural laws, identity and meaning. His tale has no resolution other than confirming baffling inexplicability, but his mathematics papers, and the present study, have better news. Snark episode illustrations, characters, and parts of the plot subconsciously express archetypal and thus natural and cultural order. In this context, the text acquires much more order than the rhyme, meter and plot provide.

“The thing shall be done! Bring me paper and ink, the best there is time to procure. The Beaver brought paper, portfolio, pens, and ink in unfailing supplies: while strange creepy creatures came out of their dens, and watched them with wondering eyes. So engrossed was the Butcher, he heeded them not, as he wrote with a pen in each hand, and explained all the while in a popular style, which the Beaver could well understand.”

The ‘strange creatures’ crowding into the story and the illustration repeats a motif familiar in religious art; temptation by delights and torments, usually shown with St Anthony (see a post on Oracles of the Dead Part II, on www.stoneprintjournal.wordpress.com). The illustrator was a church window designer by trade, thus well versed in religious art.

Dominant general themes in Henry Holiday’s illustration for the scene of the Butcher as author, artist and mathematician, include these types:

[] 4 King, of squat posture (here of nine characters), twins (here dragons, frogs, pigs, cats), rectangle (music boxes, books);

[] 6 Exile, of ingress (Beaver and Butcher near the centre), double-head (dragons, frogs, pigs, cats), reptile (dragons, frogs); and its opposite, 14 Mixer, of ingress (crowding in a narrow vale), transform (music to math), angel (winged rat, dragons, pigs), reptile, dance (of flying pigs);

[] 10 Teacher, of raised arms (here all twelve characters), metal (brass instruments, boxes), ecology (beasts), school (Butcher teaching Beaver math), carousel (dancing beasts);

[] 15 Maker, of order (books), doubled (dragons, pigs, frogs, cats), reptile, winged;

[] 2c v9c, 5c v13c Baskets, of instruments (music, writing), container (music boxes, ink-well), hat (Butcher’s beaver hat), or secret (Jubjub song and math score).

This artwork is remarkable for its general themes expressing the three known features that are ambiguous for being optional part of three or four types: reptile; winged; doubling (though it tends to take different forms in types 4, 6, 15). In addition, twinning and doubling is present in many visual citations of other artists as Kluge (2017) demonstrated. But canid of type 9, 10, 14, 15; and equid of types 3, 4, 5, are absent here. The known ambiguities are inherent in nature and culture, and appear at fixed average percentages, thus they are as archetypal and measurable as the unambiguous features, and the five layers of structure in spatial expression are.

Henry Holiday; Hunting of the snark Butcher calculating a jubub song, in the illustration for Lewis Carroll (Dodgson 1876). The woodcut is by Joseph Swain, later colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Maths music character (noting archetypal features):

2 Builder; Pig trumpeter A in orchestra (cluster).

2c Basket; Music box B (instrument, container) churned (arm-link) by dragon B.

3 Queen; Bellman (school).

4 KingA; Dragon B (twin), winged (‘bird’), on rock (squat) with music box (rectangle).

4 KingB; Rat flying (bird), squeezing ink.

5a Priest; Dragon (reptile, winged) with music box (hyperactive). These boxes may refer to religious articles of faith, as of Thomas Cranmer (implied priest).

5c Basket Tail; Music box A (container).

6 ExileA; Butcher (sacrifice), near the centre (ingress); inner eye, as bard, in beaver hat (sacrifice).

6 ExileB; Butcher (sacrifice), near the centre (ingress); outer eye (‘double-headed’).

7 Child; Young (juvenile) frog’s bag (bag, eyeless) with newspaper (unfold).

7g Gal.Centre; Bonnet (vortex?) on cat A.

9 Healer; Cat C tearing (strong) a bonnet.

9c Basket Lid; Books (reveal) on a war treaty (enforce) and absurdity.

10 Teacher; Ink bottle B (school).

11 WombA; Beaver’s (water) midriff (womb), bearing ink (library).

11 WombB; Beaver’s (water) midriff (womb), bearing ink (library).

13 Heart; Frog’s chest (heart), drilling (rounded, weapon).

14 MixerA; Frog (reptile); inner eye.

14 MixerB; Frog (reptile); outer eye.

15 Maker; Pig with wings (winged) playing flute (‘sceptre’).

15g Gal.Gate; Tuba (juncture, vortex).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Butcher’s upper fingers (limb-joints).

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

Midsummer; Pig A’s hoofs (limb-joint).

Midwinter; Butcher’s jaw (limb-joint) holding quill (juncture).

The solstice markers are on the horizontal plane. The polar triangles place midsummer in 14-15 or Cancer-/Gemini; implying spring and the cultural time-frame in Age 3-2 or Aries-Pisces, confirmed by the top central position of types 3 and 4.

The analysis score in the Butcher’s math scoring illustration, is 36/68 archetypal features; 16/16 axial points; 6/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 68/100, minus 3 extra characters off the axial grid; total 65%, just above the universal average of 60%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Barrister’s courtroom trial dream scene

Barrister’s courtroom trial dream illustration by Henry Holiday has only nine characters, thus fewer than eleven, and is considered a minimalist artwork, wherein some structuralist compromises, and fewer than 60% of the known archetypal features are expected. Some characters and some structuralist features are doubled, as in his Butcher music and maths lesson scene.

Main general themes in this courtroom illustration are types 10 Teacher, of arms up posture (here of five characters), hunt-master (prosecution), disc (two wigs, dram fog), council (court); and type 11 Womb, of womb (here or the sleeping Barrister), law (trial).

Henry Holiday; Hunting of the snark courtroom trial scene illustration for Lewis Carroll. Woodcut by Joseph Swain. Colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Court character (noting archetypal features):

1 Builder; NO EYE, Keys (cluster, implied twist, tower, build, maze). And; NO EYE, Prosecutor’s left hand holding rolled (twisted) charge sheet (book).

2 Builder; OFF THE GRID Jailer (implied tower, build).

2c Basket; Judge’s wig (weave, shoulder-hump, hat). And bench (throne).

3 Queen; Barrister or judge (school?), representing the Crown (queen).

4 KingA; NO EYE, Prosecutor.

4 KingB; Advocate A.

5a Priest; Advocate B In tails (tailcoat head) judging (judge, assembly).

5c Basket Tail; Advocate C, between axes, as c-types are.

6 Exile; Advocate D, far from the centre (egress).

7 Child; Accused in dock (rope?).

7g Gal.Centre; Fog end (water).

8 Healer; Prosecutor’s right hand, in cloak (trance? See Tarot trump 9, Hermit in hood).

9c Basket Lid; Fog middle (lid) of a dream (reveal).

10 Teacher; Prosecutor (‘hunt-master’) with arms up (arms up) or prop (staff) holding wig (disc, council).

11 WombA; Sleeping Barrister’s (law) midriff (womb), under fog (water).

11 WombB; Sleeping Barrister’s (law) midriff (womb), under fog (water).

12 Heart; Sleeping Barrister’s chest (heart).

13c Basket Head; Sleeping Barrister’s wig (head, hat, weave).

14 Mixer; Sleeping Barrister dreaming (transform).

15 Maker; NO EYE, Hand of Bellman ringing (order, smite).

15g Gal.Gate; Bellman’s hand (limb-joint), lifting fog from sleep to waking (juncture).

Axial centre; Prosecutor’s bow knot (juncture).

4p Gal.S.Pole; Advocate A’s talking jaw (limb-joint).

11p Gal.Pole; Sleeping Barrister’s elbow (limb-joint).

Midsummer; Charge of Trespass (juncture).

Midwinter; Advocate B’s demonstrating fingers (limb-joint).

The solstice markers are on a horizontal plane. The polar triangles place midsummer in 15-1 or Gemini-Taurus; implying spring and the cultural time-frame in Age 4-5 or Pisces-Aquarius. Pisces is confirmed by the top central position of types 4A and 4B.

The analysis score in the snark courtroom scene is 21/68 archetypal features; 14/16 axial points; 8/4 c-type sector features; 3/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 53/100, minus 2 extra characters off the axial grid; total 51%, in the lower half of the universal average range of 40-80%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

  • See a list of currently known optional archetypal features in other posts.

Some sources and references

Carroll, L. 1876. Hunting of the snark. London; McMillan

Cohen, M. N. 1995. Lewis Carroll: A Biography. Macmillan

Furter, E. 2014. Mindprint, the subconscious art code. USA: Lulu.com

Furter, E. 2015a. Gobekli Tepe, between rock art and art. Expression 8. Italy: Atelier Etno

Furter, E. 2015b. Rock art expresses cultural structure. Expression 9. Italy: Atelier Etno

Furter, E. 2016. Stoneprint, the human code in art, buildings and cities. Johannesburg: Four Equators Media

Furter, E. 2017a. Recurrent characters in rock art reveal objective meaning. Expression 16, June. Italy: Atelier Etno

Furter, E. 2017b. Stoneprint tour of Paris. Stoneprint Journal 3. USA: Lulu.com

Furter, E. 2018a. ‘Babylonian Plough List decans’. http://www.stoneprintjournal.blog

Furter, E. 2018b. Stoneprint tour of London. Stoneprint Journal 4. USA: Lulu.com

Furter, E. 2018c. Culture code in seals and ring stamps. Stoneprint Journal 5. USA, Lulu.com

Furter, E. 2019a. Rennes le Chateau stoneprint tour. Stoneprint Journal 6. USA, Lulu.com

Furter, E. 2019b. Ayahuasca artists express universal structure. DMT Times; Archetypes

Gennerich, G. 2004. Hunting of the snark illustrations restoration and coloration. Los Angeles; Tigertail Associates.

Jung, C.G. & Jaffe, A. 1965. Memories, Dreams, Reflections. New York: Random House

Jung, C.G. 1945. Philosophical tree. In Collected Works 13: Alchemical Studies

Kluge, Goetz. 2017. Nose is a nose is a nose. Knight Letter 99, December, p30-31

McCormick, C.T.  2011. Folklore, an encyclopaedia of beliefs, customs, tales, music and art. Denver, Colorado; ABC-CLIO

Neugebauer, O. & Parker, R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. USA: Brown Univ Press

Roche, G.T. 2018. Temptation of St Anthony; on chemical mysticism. Academia.com

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52. http://www.StorySearch

Torrey, F, and Miller, Judy. 2001. Invisible Plague: The Rise of Mental Illness from 1750 to the Present. New Brunswick: Rutgers University Press

Traveler, The. 2009. DMT Nexus. https://wiki.dmt-nexus.me/Hyperspace_lexicon

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki: Academia Scientiarum Fennica

Zipf, G.K. 1949. Human behavior and the principle of least effort. USA: Addison-Wesley

Categories
Archetypes in alphabets Subconscious archetype structuralist anthropology model

Emblems, alphabets and hieroglyphs express archetype

All sets of emblems, alphabets, hour calendars, hieroglyphs and syllables, express many of the optional features of the universal set and sequence of types; at the standard average percentages; in all cultures and eras; as already demonstrated in artworks and building sites. The only explanation for the success of the archetypal structuralist model in supposedly ‘arbitrary, invented and developed’ cultural media, is that all cultural media are innate in consciousness, and thus extensions of nature; and that our conscious paradigm consistently ignored measurable subconscious behaviour until worldwide data became available to structuralist anthropology. Alphabets have often been compared to hour asterisms in an effort to trace supposed diffusion; but never in the context of archetype informing various media (Furter 2018; Babylonian Plough Stars decans), as they are here.

Some calendars, emblems and alphabets have similar sounds, numerals (in alphanumeric sets), pictographs, determinants, and related myths; in sequences that could be directly compared to one another, and to typological features isolated in artworks and other media, indicating that the natural blueprint extends to all cultural media (see the paper Blueprint on http://www.edmondfurter.wordpress.com). Some sets have fewer characters, usually skipping one of the doubled types (see __ blanks in some tables below). Apparent cosmology elements in cultural media, are due to subconscious expression of archetypal features in calendars and myth. All media are ‘original’ re-expressions, with a few inter-media borrowings. Culture comes from archetype, not from the sky, or alphabet, or any single media or invention or diffusion.

Archetypes in Cretan Archanes seals

Archanes seals could be sequenced by archetypal features. The sets are highly stylised, and apparently without secure traditional sequence or fixed total. Comparison to other Cretan media, via the mindprint model, resolves the sequence. About 26 often reproduced features include abstract ‘determinants’ that may be subconscious former or current spring markers (see the model list below). Such ‘determinants’ may compensate for lack of spatial layout and polar features. The set may illustrate a calendar or some other cycle, yet both sets would reveal collective and individual subconscious inspiration in the culture, in the re-designer, and in copyists.

Fourteen Cretan Archanes seals (after Sakellarakis et al 1997. Archetypal labels and sequence by E Furter).

Type; Upper Image (features); Lower Image (features):

2 Builder; Shelter or Trap (maze); on Antelope (bovid).

3 Queen; Flower (spring); on Horse (neck), Snake (dragon).

4 King; Two S-shapes (twins); on Horse (equid).

5a Priest; Zebra or horse (equid? colour?).

6 Exile; U-shape (U-shape).

7 Child; Centaur? In ropes (rope).

7g Gal.Centre; Hills or abstracts (unfolding?)

9 Healer; Podium (pillar), Herb (heal), Bent (bent).

10 Teacher; Double-axe (staff) of Apollo (teacher), Snake (snake, heal), Staff (staff).

11 Womb; Staff or Wheat (crops), Plough? (furrow?); Vase (womb).

11p Gal.Pole; Flower (junction).

13 Heart; Purse or Hand or Heart (heart?).

14 Mixer; Honey? (energy?), Brewer? (transformation).

15 Maker; Leg (smite? rampant?).

Archetypes in Germanic runes

The conventional 18 runes have graphic and phonologic counterparts in the Latin alphabet. The six others making up the conventional set of 24 runes, derive from a North Italic alphabet in the first century AD (Looijenga 1997). However runes assumed their own sequence, and set of emblematic derivations, both now testable against archetypal typology. Runes are conventionally listed from F, Wealth (here type 1 B). The tables follow Latin convention from A 1 (type 14).

Archetypes in Semitic alphanumeric sets (after Goldwasser 2006); 22 Germanic runes; Hour decans (after Furter 2014).

Type; Sound Numeral; Rune (features); Hour decan

14 Mixer; A 1; Speech (jaw, limb-joint); Ursa Minor.

15 Maker; B 2; Bough, Family (sceptre, ancestor); Canis Min.

15g Gate; G 3; Gift (bag); Galactic Gate or Canis.

1 Builder; D 4; Sun (former spring); ____­_.

1 Builder B; F/V 5; Wealth (bovid); Hyades.

2 Builder; W/Ng 6; Hail (rain, cluster); Pleiades.

2c Basket; Z/Gw 7; ____; (Diphthong)(transit); Algol.

3 Queen; EH 8; Horse (neck); Pegasus.

4 King; TH? 9; Thorn, Hammer (spring); Pisces Cord.

4p Gal.S.P.; Y/R? 10; Tree (junction); Pegasus neck.

5a Priest; K 20; Flame (4 furnace); Aquarius latter.

5b Priest; L 30; Water (water); Aquarius prior.

6 Exile; M 40; Man (scapegoat?); Cygnus?

7 Child; N 50; Chariot (chariot); Sagittarius.

7g Gal.Centre; Xi 60; Constraint (junction); Serpens Cauda.

8 Healer; AY Y 70; Home (hearth, heal); Scorpius Sting.

9 Healer; P 80; Hearth (hearth, heal); Scorpius Antares.

10 Teacher; R? 100; Ride (9 trance); Bootes.

11 Womb; HD 90; Fork, Tyr (10 staff, arms), Star Spica.

12 Heart; S 200; Ship (interior); Argo.

13 Heart; T 300; Horn, Bull, Sun (ruler); Leo Regulus.

14 Mixer; U 400; Joy (honey?); Beehive?

15 Maker; PH 500; Couple (double), Spell (churn); Gemini.

Archetypes in Mayan day hieroglyphs

The Mayan ‘month’ of 20 days, part of the Tzolk’in, 20×13=260 days, has its own set of emblematic ‘derivations’, now testable against archetypal typology. The 20-day birthday cycle is a powerful predictor of personality globally, independent of annual seasonal calibrators and of Western astrology. Mayan days are conventionally listed from Crocodile or Water (here type 3). The tables follow Latin convention from A 1 (type 14).

Archetypes in Semitic alphabets (after Goldwasser 2006); 20 Mayan day hieroglyphs, Limbs, and Images (after Pinzon 1995); Hour decans (after Furter 2014).

Type; Sound Nu.; Mayan hierogl. (feature); Limb, Image; Decan.

14 Mixer; A 1; Vulture (bird); Tongue, Spirals (polar); Ursa (polar).

15 Maker; B 2; Motion (churn, polar); ____; Ursa Minor (polar).

15g Gate; G 3; Knife (risk); mouth (joint), Skull?; Orion Club (junct).

1 Builder; D 4; Rain (storm); Eye, ____; Orion.

2 Builder; F/V 5; [Sun?]; ___; ___ [Mayan skip]; Hyades?

2c Basket; W/GN 6/7; Flower (cluster); Eye, _; Pleiades.

3 Queen; EH/Th 8; Croc (dragon); Chest, _; Cetus Tail.

4 King; TH? 9; Wind (field?); Lung (furnace), _; Pegasus.

4p Gal.S.P.; Y R? 10; House (junct, pillar); _; Pegasus legs.

5a Priest;   K 20; Lizard (reptile); Hip?, ___; Aquarius.

5c Tail; L 30; Snake-knot (rept., weave); Genital, R/snake; Capr.tail.

6 Exile; M 40; Frog (rept.), Death (sacrif); Ear (bleat), _; Capr (fish, goat).

7 Child;  N 50; Deer (juvenile?); Ear, ______; Sagittarius.

7 Child B Xi; 60; Rabbit (juv.); Foot (joint), _; Tail, Serp.Cau., Tail.

7g G.Cntr; AY 70; Water (junction); _, _; Galaxy (water).

8 Healer; P 80; __; __; __ [Mayan skip]; Scorpius Sting.

9 Healer; R? 100; Dog (canid); Foot, ____; Lupus.

9c Lid; HD 90; _____? (diphtong)(transit); __; Serpens.

10 Teacher; S 200; Monkey (arm); arms (arm), Lizard (arm); Bootes.

11 Virgo; T 300; Grass (crops); womb (womb); _; Spica.

11p Gal.P.; U 400; Reeds (junct); _______; Coma (hair).

12 Heart; PH 500; Ocelot (‘felid’); Foot, __; Leo retro.

13 Heart; CH 600; Eagle (bird, polar); Hand; __; Ursa.

13c Head; [not expressed].

All the examples above confirm that pairs of spatial opposites play some roles in archetypal expression, but challenges Harrod’s conclusions by expanding evidence of global application of a more concrete, less abstract, and more layered formula, with limited content.

Archetypal structuralist model

The five subconscious layers of expression are: (a) typological characters with specific optional features; (b) peripheral sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of pairs of opposites; (d) three pairs of polar junctures, implying three planes; (e) orientation of one polar pair vertical or horizontal to the ground-line or a cardinal direction, often indicating the seasonal time-frame of the artist’s culture.

Axial grid of the sixteen types (numbered 1 to 15, but repeating 5), and four transitional types (c-numbers), as they appear in artworks, building sites and iconic sets. Orientation, angles and radii differ in each work. Each character expresses some, never all of the cluster of features of its type.

Types could be labelled after any popular set, such as an alphabet, or a pantheon. Generic labels, such as social functions used here, avoid the false impression of diffusion from any particular medium or culture. Zodiac seasons and decanal hour myth labels were used initially, requiring repeated clarification that they do not arise from conscious invention or diffusion. Correspondence theories are often misled by archetypal recurrent features, or by citation of parallel expressions among media and cultures; into assuming diffusion, and ignoring innate nature.

Recurrent behaviour subconsciously and rigorously follows several quirky rules. Type characters always have their eyes (except a womb at 11, and a heart at 12/13; or interior focal points in built sites), on the axial grid formed by pairs. Spatial elements in culture resemble cosmology, but both express archetype, and do not derive from one another. Cultural artefacts express two ‘galactic’ poles (4p, 11p); two galactic crossings (7g, 15g); an annual or Ecliptic Pole at the axial centre; and two ‘celestial’ poles (Cp and Csp) or midsummer and midwinter markers. Poles are not expressed by eyes, but limb joints (junctures in built sites). Four types could be double (1v8 and 2v9; 5a v12 and 5b v13), or single (only 2v9 and 5v13); thus the total is usually sixteen or twelve. Some other pairs are doubled in complex artworks or built sites.

A shift in the position of two or three eyes could erase the sequence and the structure, but almost never does so. Axial grids are not inherent in any collection of about eleven to twenty items. Axial grids are not based on lines of equal length.

The minimal twelve type characters in any artwork, built site or craft set.

Label; known archetypal features with average frequencies:

1 /2 Builder; twist 44%, cluster 23%, bovid 19%, bird 19%, tower 18%, build 14%, sack 10%, hero 10%, book 8%, rain,

2c Basket; weave 25%, container20% instrument 20%, shoulder-hump 20%, hat 15%, snake 10%, throne 10%,

3 Queen; neck-bend 31%, dragon 19%, sacrifice 17%, queen 13%, school 12%, spring 10%, fish 6%, ovid 5%,

4 King; squat 30%, rectangle 28%, king  22%, twins 13%, sun 12%, bird 10%, fish 8%, furnace 8%, field 5%,

5a/5b Priest; varicoloured 37%, priest 34%, hyperactive 33%, tailcoat-head 32%, assembly 30%, horizontal 28%, water 24%, heart 24%, large 24%, bovid 20%, winged 14%, invert 12%, reptile 10%, sash 8%, equid, ascend,

5c Basket-Tail; weave 16%, tail 14%, U-shape 10%, contain 8%, herb 4%, oracle, spirit (ka), spheres,

6 Exile; in/out 58%, horned 44%, sacrifice 30%, small 14%, U-shape 13%, double-head 12%, caprid 8%,

7 Child; rope 24%, juvenile 24%, bag 22%, unfold 13%, beheaded 10%, chariot 8%, mace 6%, off-grid,

7g Galactic-Centre; limb- joint 38%; juncture 34% (throne, altar, spiral, tree, staff); path/gate 18%; water 16%,

8/9 Healer; bent 28%, strong 28%, pillar 28%, heal 22%, disc 14%, metal 8%, ritual 6%, canid 4%,

9c Basket-Lid; disc/hat/lid 27%, instrument 25%, reveal 16%, hump 15%, weave 8%,

10 Teacher; W-shape 44%, staff 36%, hunt master 24%, guard 20%, metal 14%, market 14%, disc 12%, council 11%, snake 8%, ecology 8%, school 6%, wheel 5%,

11 Womb; womb 88%, wheat 15%, water 14%, tomb 11%, interior 8%, library 8%, law 5%, felid 5%,

12/13 Heart; heart 83%, felid 42%, death 34%, rounded 21%, invert 14%, weapon 11%, war 9%, water-work 8%,

13c Basket-Head; oracle 14%, head 14%, weave 8%, ship,

14 Mixer; in/out 43%, time 28%, tree 20%, angel 15%, bird 11%, antelope 10%, dancer 8%, felid 8%, reptile 4%,

15 Maker; churn 44%, rope 28%, order 27%, rampant 26%, bag 20%, mace 16%, doubled 16%, face 12%, canid 12%, sceptre 11%, smite 8%, reptile 8%, winged 8%,

15g Galactic Gate; junct 30% (river 10%); limb-joint 12%.

Polar features (antithetical triangles in the centre) also follow universal average frequencies. The axial centre is usually unmarked at about 60%, or on a limb-joint or juncture, expressing both ends of a polar axle, and thus the projection angle.

4p Gal.S.Pole; mark 82%; limb-joint 67%; juncture 17% (spout 12%, stream, speech),

11p Gal. Pole; mark 88%; limb joint 64% (hand 12%, elbow 10%, foot 12%, etc); juncture 24% (door 12%, corner, etc),

Midsummer (cp); Limb-joint 54%, or juncture 24%.

Midwinter (csp); Limb-joint 46%, or juncture 24%.

One of the polar axles is on the horizontal plane 50%, or vertical plane 12% (or on a meridian or latitude on a built site). Polar markers usually place midsummer on or near type 12, 13, 14 or 15, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), as Age Taurus1, Taurus2, Aries3 or Pisces4. Some recent works are framed in Age Aquarius5a, which started in 2016 (Furter 2014). The type hosting spring, 1, 2, 3 or 4, is often prominent. The general theme of a work is indicated by features shared among three or more characters. Works express about 60% of the optional, measurable, recurrent features.

Categories of the identified features are apparently inconsistent with conscious logic, indicating subconscious access to archetypal logic. Rigorous average frequencies, and consistency through millennia, also rule out learning, nurture or conscious revisions. The full repertoire appears in the oldest examples, about BC 26 000 (Furter 2014), ruling out accumulation of idiosyncratic ‘ideas’, and of localised cultural ‘frameworks’, as some cognitive archaeologists propose (Furter 2014; 2016; 2019 Blueprint on http://www.edmondfurter.wordpress.com).

Archetypal labels for marking typological features in cultural artefacts:

 

1Builder 2Builder 2cBasket 3Queen 4King 4p
8Healer 9Healer 9cLid 10Teacher 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13Heart 13cHead 14Mixer 15Maker 15g

 

cp csp ? ? ?

 

Labels are used in pairs of spatial opposites, here given above-below one another. Some pairs may remain unused; often the transitional c-types, or two of the four doubled types (1v8, 5a v12) may remain unexpressed in a work. Characters with eyes off the grid, without a limb-joint on a polar point are labelled ?. Numbering follows the horary (hour) sequence, also used in divination and emblems such as the Tarot trumps (Furter 2014), validated against atomic (proton) numbers in the periodic table (Furter 2016). Pairs of opposites are seven or eight numbers apart: 1v8, 2v9, 3v10, 4v11, 5a v12, 5b v13, 6v14, 7v15. Magnitudes are fifteen or sixteen numbers apart: 1:16, 2:17, 2c:17c, 3:18, 4:19, 5a:20, 5b:21, up to about 64, expressing base15 and base16, confirmed by chemical groups, and transition elements analogous to the four c-types. Proposed type numbers are probably archetypal.

All media express archetype

The often silent and unexamined assumption that media illustrate one another, such as art ‘illustrating’ ethnography or ritual; or myth ‘collating collective memories of major or repetitive events’; or symbols or divination features ‘deriving from’ analogies; should take caution that studies of cultural content and ‘origins’ agree with conscious, rationalised views of crafters and users. There was no conscious model, nor paradigm, for mathematical order in culture, such as the sizes of civic populations (Zipf 1949), or consistent average frequencies of specific features. Perception, expression and possibly meaning itself, is now revealed as ‘wired’ to archetype; and hidden by conscious habits, and our inability to recognise quirky rules as consistent. The core content of culture was static, and is likely to remain so, despite conscious discovery and diffusion of its features. Our repertoire of innate behaviour indicates that archetype guides nature and culture at several levels of scale, across media ‘boundaries’.

Structuralist anthropology has some experience in ‘tacking’ between data sets apparently in ‘disunity’, across time, place and layers of consciousness, as advocated by Alyson Wylie (1989, after Bernstein). An opportunity, and a pressing need in the humanities, is to study differences between core culture and localised ‘branding’, to inform society undergoing unprecedented globalisation and ‘culture’ shock. As nations and cities faction and fraction due to rival socio-economic bonds, the humanities could raise knowledge or our collective subconscious impulses, and our need for minor polity differences. A small step from modelling cultures, to modelling culture, may offer a leap in human sciences applications, validity and relevance, and potentially in popular understanding of our place within nature.

References

Furter, E. 2014. Mindprint, the subconscious art code. USA: Lulu.com

Furter, E. 2015a. Gobekli Tepe, between rock art and art. Expression 8. Italy: Atelier Etno

Furter, E. 2015b. Rock art expresses cultural structure. Expression 9. Italy: Atelier Etno

Furter, E. 2016a. Stoneprint, the human code in art, buildings and cities. Johannesburg: Four Equators Media

Furter, E. 2017a. Recurrent characters in rock art reveal objective meaning. Expression 16, June. Italy: Atelier Etno Expression 16, June. Also in Expression 2019; Message behind the image. Book 25

Furter, E. 2017b. Stoneprint tour of Paris. Stoneprint Journal 3. USA: Lulu.com

Furter, E. 2018a. ‘Babylonian Plough List decans’. http://www.stoneprintjournal.blog

Furter, E. 2018b. Stoneprint tour of London. Stoneprint Journal 4. USA: Lulu.com

Furter, E. 2018c. Culture code in seals and ring stamps. Stoneprint Journal 5. USA, Lulu.com

Goldwasser, O. 2006. Canaanites reading hieroglyphs. Egypt and Levant 16: 121-160

Jung, C. G. and Jaffe, A. 1965. Memories, Dreams, Reflections. New York: Random House

Levi-Strauss, C. 1973. From honey to ashes. Harper & Row

Levi-Strauss, C. 1955. Mathematics of Man. Paris: Bulletin International des Sciences Sociales 6:4.

Looijenga, J. H. 1997. Runes around the North Sea and on the continent AD 150-700; texts and contexts. Netherlands: Rijksuniversiteit van Groningen, doctorate

Neugebauer, O. and Parker, R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. USA: Brown University Press

Pinzon, S. 1995. Early history of Belize. Ambergriscaye.com/earlyhistory/glyphs. Belize: Casado.net

Sakellarakis, Y. and Sapouna-Sakellaraki, E. (1997) Archanes: Minoan Crete in a new light. Athens: Ammos

Turner, T. S. 2009. Crisis of Late Structuralism. Perspectivism and Animism: Rethinking Culture, Nature, Spirit, and Bodiliness. Tipití: Journal of the Society for the Anthropology of Lowland South America: Vol. 7: Issuse 1, Article 1

Wylie, A. 1989. Archaeological cables and tacking: the implications of practice for Bernstein’s options, beyond objectivism and relativism. USA: Philosophy of Social Sciences 19(1), March, 1-18

Zipf, G.K. 1949. Human Behavior and the Principle of Least Effort. USA: Addison-Wesley

Categories
How to identify mindprint types and structure in art Mindprint the subconscious art code Structural art analysis using mindprint

The mindprint model of archetype in culture, update 2019

The five subconscious, structured layers of expression globally, are (a) typological characters with specific optional features; (b) type sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of pairs of opposite types; (d) three pairs of polar junctures, implying three planes of expression; (e) orientation of polar pairs vertical or horizontal to the ground-line or a cardinal direction, co-incidental with the seasonal time-frame of the local culture.

Types could be labelled after any popular set, such as species, myths or months. Generic labels, such as social functions, avoid the false impression of diffusion from one particular medium or culture. Correspondence theories are often misled by recurrent archetypal features, or by inevitable cross-references between media and cultures, into assuming diffusion, and ignoring the innate roles of nature in culture.

Mindprint or stoneprint model of character types, in their peripheral sequence, as pairs of opposites forming an axial grid of eyes, with five polar points of limb joints or junctures.

Characters expressing the types always have their eyes (except a womb at 11, and a heart at 12/13; or interior focal points in built sites), on an axial grid, formed by standard pairs (1v8, 2v9, etc). Our works also express two ‘galactic’ polar points (4p v 11p); and two galactic crossings (7g v 15g); and three polar points: Midsummer or Celestial Pole (cp), Midwinter or Celestial South Pole (csp); and Ecliptic Pole at the axial centre. Polar points are not on eyes, but on limb joints (or junctures in built sites). Four of the types could be double, as they are in the figure (1v8, 2v9; and 5a v12, 5b v13); or single (2v9 and 5v13 only); thus the total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks or built sites. The axial grid always confirms the peripheral sequence.

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Here is the January 2019 update of typological features, and their global average frequencies.

Axial graph of percentages of the seven most common features, of the minimal twelve types, and four border types. Adjacent types 1/2, 5a/5b, 8/9, and 12/13 share features at nearly the same frequencies, thus their data are currently combined. These may be differentiated in further study.

Type label; recurrent features of characters in any artwork, built site, or craft set, in peripheral sequence, with average frequencies:

1 /2 Builder; twist 44%, cluster 23%, bovid 19%, bird 19%, tower 18%, build 14%, sack 10%, hero 10%, book 8%, rain,

2c Basket; weave 25%, container20% instrument 20%, shoulder-hump 20%, hat 15%, throne 10%, snake 10%,

3 Queen; neck-bend 31%, dragon 19%, sacrifice 17%, queen 13%, school 12%, spring 10%, fish 6%, ram 4%,

4 King; squat 30%, rectangle 28%, king  22%, twins 13%, sun 12%, bird 10%, fish 8%, furnace 8%, field 5%,

4p Galactic South Pole; limb-joint 67%; juncture 17% (spout 12%, stream, speech,

5a/5b Priest; varicoloured 37%, priest 34%, hyperactive 33%, tailcoat-head 32%, assembly 30%, horizontal 28%, water 24%, heart 24%, large 24%, bovid 20%, winged 14%, invert 12%, reptile 10%, sash 8%, equid, ascend,

5c Basket-Tail; weave 16%, tail 14%, U-shape 10%, contain 8%, herb 4%, oracle,

6 Exile; in/egress 58%, horned 44%, sacrifice 30%, small 14%, U-shape 13%, double-head 12%, caprid 8%,

7 Child; rope 24%, juvenile 24%, bag 22%, unfold 13%, beheaded 10%, chariot 8%, mace 6%, off-grid,

7g Galactic Centre; limb-joint 38%; juncture 34% (throne, altar, spiral, tree, staff); path/gate 18%; water 16%,

8/9 Healer; bent 28%, strong 28%, pillar 28%, heal 22%, disc 14%, metal 8%,

9c Basket Lid; disc/hat 27%, instrument 25%, reveal 16%, hump 15%, weave 8%,

10 Teacher; W-shape 44%, staff 36%, hunt master 24%, guard 20%, metal 14%, market 14%, disc 12%, council 11%, snake 8%, ecology 8%, school 6%, wheel,

11 Womb; womb 88%, wheat 15%, water 14%, tomb 11%, interior 8%, library 8%, law 5%, felid 5%,

11p Gal. Pole; limb-joint 64% (hand 12%, elbow 10%, foot 12%, etc); juncture 24% (door 12%, corner, etc),

12/13 Heart; heart 83%, felid 42%, death 34%, rounded 21%, invert 14%, weapon 11%, war 9%, water-work 8%,

13c Basket-Head; oracle 14%, head 14%, weave 8%, ship,

14 Mixer; in/egress 43%, time 28%, tree 20%, angel 15%, bird 11%, antelope 10%, dancer 8%, felid 8%, reptile 4%,

15 Maker; churn 44%, rope 28%, order 27%, rampant 26%, bag 20%, mace 16%, doubled 16%, face 12%, canid 12%, sceptre 11%, smite 8%, reptile 8%, winged 8%,

15g Galactic Gate; junction 30% (river 10%); limb-joint 12%,

The five polar features also have global average frequencies. The axial centre is usually unmarked at about 60%, or on a limb-joint or juncture. Midsummer (cp) is on a limb joint 54%, or juncture 24%. Midwinter (csp) is on a limb joint 46%, or juncture 24%. One of the polar axles is on the horizontal plane 50%, or vertical plane 12% (or on a north-south meridian or east-west latitude in a built site).

Polar markers usually place midsummer on or near type 12, 13, 14 or 15, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3 or Pisces4. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3 or 4.

The general theme of a work is indicated by features that are prominent, or shared by three or more characters. Works or sets express about 60% of the already known 100 optional, measurable, recurrent features. The identified features are not of conscious design. Structural or ‘grammatical’ layers of expression are subconscious to artists, architects, builders, crafters, and members of any culture. Rigorous average frequencies and consistency through ages, also rule out nurture. The full repertoire appears in the oldest examples, in Ice Age art of about BC 26 000 (Furter 2014), ruling out accumulation of idiosyncratic ‘ideas’, and of localised cultural ‘frameworks’, as some anthropologists and rock art archaeologists believe (Lewis-Williams and Pierce 2012).

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== Extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. Order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also http://www.stoneprintjournal. blog  www.mindprintart.wordpress.com  www.edmondfurter.wordpress.com

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1 Pictish beasts

2 Crop circles are natural artworks

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5 Culture code in seals and ring stamps. Also from Lulu.com

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Categories
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.

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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.

Order the guide to archetypes in ancient seals here;  http://www.lulu.com/shop/edmond-furter/stoneprint-journal-5-the-culture-code-in-seals-and-ring-stamps/paperback/product-23576711.html

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. Lulu.com, order on this link; http://www.lulu.com/shop/edmond-furter/stoneprint-journal-5-the-culture-code-in-seals-and-ring-stamps/paperback/product-23576711.html

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

Categories
Structural art analysis using mindprint

Stoneprint reveals archetypal structure on building sites

Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the main source of correspondences between ancient cultures. Stoneprint reveals archetypal structure on building sites.
We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.
The book demonstrates the innate universal structure in our works, including art, rock art, houses, kivas, temples, villages, sacred sites, monuments, pyramids (Egyptian, Chinese, Olmec as well as Mayan pyramid fields), and cities.
The examples range from the Ice Age thaw at Gobekli Tepe, Malta, and Scotland; to prehistoric sites such as Babylon; semi-historic sites such as the Giza, Avebury and Stonehenge landscapes; historic sites such as Ephesus, Rome, Axum, Quebec, and Cape Town; and across all continents and cultures, including Africa, the far east, south America (including Nazca) and North America (including Mystery Hill).
Among the cultural media that carry the human code, and camouflage it from our conscious mind until revealed by structural analysis; are rock art, ‘fine’ art, ritual, myth, poetry (such as two examples of Babylonian building rites, and two poems by William Blake) buildings, sites and region (such as Babylonia).
Nature also express archetypal structure. Stoneprint reveals several direct links between subconscious cultural expressions, and the periodic table (when charted on a spiral as by Maurice Peyroux); chemical elements; reflexology charts of our palms, irises, teeth, earlobes and inner ears. Our eye-hand-mind co-ordination expresses the same universal structure in building sites, even by different architects, and different generations of rulers and builders.
Stoneprint, the human code in art, buildings and cities, now enables conscious access to our subconscious behaviour, which is revealed as standarised, rigorous, universal, eternal, complex, yet measurable.

Stoneprint (2016) back cover, spine, and front cover.

The book places the discovery of subconscious behaviour (first reported by the author, Edmond Furter, in Mindprint in 2014), in the context of the esoteric crafts of alchemy, kabbalah, cosmology, astrology, and art; as well as the context of each human science: art history, archaeology, anthropology (with a humorous detour into popular archaeology), psychology, and sociology.
The implications of the discovery of the universal stoneprint structure for popular culture (including various schools of popular archaeo astronomy) , and for the human sciences, are significant.
Order the book Stoneprint, in Europe at E30 plus postage, from Four Equators Media via [edmond at syrex dot co dot za], payment on Paypal.
Order the book Stoneprint in the USA at $30 plus postage, from Four Equators Media via [edmond at syrex dot co dot za], payment on Paypal.
Order the book Stoneprint in South Africa at R300 (including free postage to any Postnet account in South Africa; or plus R30 postage; or plus R60 per courier), from Four Equators Media via 011 955 6732 or [edmond at syrex dot co dot za], payment on Paypal.
The index indicates the broad scope and depth of 28 years of research reported in Stoneprint. Each relevant craft and science is placed in context. Natural expressions are compared to cultural expressions. Each building site is illustrated by a map, and at least two pages of detailed structural analysis.

Introduction
2 Architecture reveals our subconscious building code
3 The Five levels of structure in cultural media
3 The sixteen archetypes, in sequence
4 The axial grid of focal points
6 The four borderline types
7 The two galactic gates or cross-points
7 The polar clock of Ages
8 The six polar points
9 Structural analysis example of a site sketch plan

The cultural context of the human code
11 Alchemy: Crafts reveal chemistry
13 Chemistry reveals biology
15 Kabalah: Natural philosophy correspondences
17 Poetry: Blake’s London- Jerusalem- Golgonooza
21 Poetry: Blake’s Tyger describes expression
22 Poetry: The Stoneprint rhyme
24 Astrology: Calendars reveal divination
27 Cosmology: Direction is everywhere

The scientific context of the human code
31 Art History: Perception reveals gestalt
37 Archaeology: The World Archives challenge
42 Anthropology: Artefacts reveal structure
47 Popular Anthropology: Who did it?
52 Psychology: Behaviour reveals archetype
57 Philosophy: The universe reveals archetype
60 Communication Science: Structure is the message
63 Sociology: Behaviour reveals our self-image
66 Science and esoterica: our split consciousness
70 Why I wrote Stoneprint

73 [Chapter A] Natural elementary maps
74 The periodic table reveals atomic structure
80 Nuclear particles reveal atomic polar structure
81 Compounds confirm the axial pairs
82 Constellations chart our cosmos and myth
84 Astronomical poles in our cosmos
86 A crop circle solar system implies two grids
92 Earth imprints a motto: ‘I oppose artifice’
94 Trails of architecture in two crop circles
95 Numbers have character
96 Mars ‘face’ geology invites human gestalt

99 [Chapter B] Natural body maps

100 Our hands carry the imprint
102 Our eyes are windows to the body and structure
104 Our minds carry the imprint
106 Dental reflexology: the ‘boneprint’ in our cave
111 Our outer ear lobe reflex map
112 Our inner ear reflex map
113 Eye, palm, teeth, ear and organ map
114 Limb joints mark six poles

115 [Chapter C] Natural culture maps
116 Piacenza bronze liver double circle of gods
120 The sixth layer of culture is style conformity
121 Three sets of Etruscan gods integrated
121 Planets express poles and gates, not types
122 Gods or liver maps, which came first?
123 Piacenza city and its walls are cultural stoneprints

125 [Chapter D] Culture maps
126 The Maikop silver bowl paradise
128 Paradise, Fall, and Babel in a nutshell
129 Mapungubwe’s gold foil oracle reconstructed
130 A Venda divination bowl
132 An Italian Goose game board
134 Pedra Pintada engraving oval, and pentagons
138 The Bulgarian Karanovo tablet answers questions

139 [Chapter E] Ice Age sites

140 Turkey: Gobekli Tepe house C, polar boars
147 Turkey: Gobekli Tepe house D, type 14
150 Turkey: Gobekli Tepe house B, type 2
152 Turkey: Gobekli Tepe house A, type 3
154 Turkey: Gobekli Tepe excavation and radar maps
156 Turkey: Gobekli Tepe pillar D43, a culture portrait
158 Turkey: Gobekli Tepe grey pillar
159 Babylonia: Inana huts, Nevali Cori kiva, Kurdish huts
160 Turkey: Gobekli Tepe site perspective
161 China: An Iron Age T-shaped silk drape
162 A Greek healing pillar, and Shinto dressed pillars
163 Spain: Malta’s Mnajdra double stoneprint
164 Spain: Malta’s Gigantija double stoneprint
167 Spain: Hal Saflieni’s underground stoneprint
168 Scotland: Skara Brae plans
169 Scotland: Jarlshof wheelhouses and recycling
170 Spain: A Menorcan taula reconstruction puzzle

171 [Chapter F] Early civil sites in Sumeria
172 Babylonia was a stoneprint in clay brick
174 Babylon city, a vortex of dispersion
176 Two mythical gates
177 King-priest Ur Nanshe builds a temple
178 He built sixteen shrines
179 His crafts reveal subconscious method
180 He casts the circle of eternity, or polar ring
181 He was a visionary like Solomon
182 He works magic: as below, so above
184 He was an inspired architect, like Hiram of Tyre
185 He did not understand the building plan
188 He taxed the clans for construction
190 His allies and contractors
191 He surveys eight rooms, and erects eight doors
193 He set up six slabs as poles
194 An, Enlil, Enki: three equators to survey the site
195 Assyria: T-pillars and Y-tents in an army camp
296 Egypt: Narmer’s camp, and a school camp

197 [Chapter G] Early civil sites in Egypt
298 Sakkara, first royal campus, and a stepped pyramid
200 Teti’s pyramids form a stoneprint in Sakkara
201 Giza pyramid field stoneprint
204 Giza pyramid field is also a polar map
206 Kings Valley tombs are underground stoneprints
212 Queens Valley entrances lost and found
214 A ‘Syrian’ queen in a womb among wombs
216 Edfu temple is a double churn
218 Senmut’s ceiling stoneprint is half zodiac, half duat
220 Duats and decans are arch mutators

221 [Chapter H] Civil outpost sites
222 Nubia: Meroe pyramids speak with their doors
224 Egypt: Nabta Playa slab field counts four Ages
226 Egypt: Hawara labyrinth in Kircher’s Gnostic vision
228 Nubia: The cornucopia of minister Huy
230 Palestine: Jerusalem temple mount hybrid
233 Patriarchs, pharaohs, and kings
234 Palestine: Jerusalem, womb of three religions
236 Judea: Masada, a military stoneprint
238 Turkey: Nemrut hill, crossroad of Persians and Greeks
242 Australia: Elivna rock pavement engraving
244 Ethiopia: Axum is an ark of spiritual mysteries
247 Ethiopia: Lalibela temple field of bedrock ‘hearts’
249 Ethiopia: Lalibela’s Mary church; womb in a womb
250 Ethiopia: A reverse rock imprint spells ‘Rotas’

251 [Chapter J] Prehistoric European sites
252 Ireland: Drombeg house, a cosy double stoneprint
254 England: Avebury and Silbury landscape
256 England: Stonehenge counted three ages
263 England: Damerham circles in radar scan
264 England: Stonehenge landscape radar scan
266 England: Stanton Moor landscape; boulders and ‘ladies’
268 Greece: Phaistos palace, the other Greek labyrinth
270 Germany: Magdalenburg mound graves
273 Scotland: Stennes stone circle
274 Scotland: Cochno stone concentric engravings

275 [Chapter K] African sites
276 Zimbabwe: Great Zimbabwe, landscape with a womb
278 Zimbabwe: Great Zimbabwe queen’s yard with a womb
280 A kudurru boundary stone calendar spring bird
281 Egypt: Dendera zodiac summer bird
282 Zimbabwe: Nhunguza and Penhalonga metallurgy floors
283 South Africa: San Bushman painted stoneprints on rock
284 Mali: Nature and culture on a Dogon mud wall
286 South Africa: Lydenburg concentric engravings boulder

287 [Chapter L] Eastern sites
288 India: Buddhist wheel of life landscape panorama
289 India: Sanchi temple gate pagoda engraving
292 Nepal: Kathmandu palace square temple complex
294 China: Beijing Temple of Heaven park, an Aquarian cosmos
295 China: Choukungmu pyramid fields need more research
296 Japan: Nara Basin Horyuji temple, galactic manifestation
297 Japan: Todai temple, a living site
298 Japan: Himeji, Shirasagi-jo temple, White Heron nests

299 [Chapter M] Mexican sites
300 Izapa pyramid field and stelae, new world, same stoneprint
302 Izapa cacao tree ritual stele, a third layer of structure
304 La Venta pyramid field, spire eyes, platform womb
306 Monte Alban double stoneprint works with the landscape
309 Coba, a triple Stoneprint with interlocking ‘galaxy’
310 Uxmal was contested by a witch, a dwarf, and a king
312 Chichen Itza has temples to planets, and a stoneprint
314 Chichen Itza village scene, a busy day
315 Teotihuacan mountain stream, and rain woman mural
316 Teotihuacan pyramid avenue, Leo sun, Virgo moon
318 El Tajin pyramid field, double thunder
320 Palenque lid cosmic tree and double stoneprint
322 Palenque pyramid field, chaos among order

323 [Chapter N] North and South American sites
324 Peru: Machu Picchu, Mayan capital in the clouds
326 Bolivia: Tiahuanaco island’s Sun Gate is the sun type
328 Chile: Atacama geoglyphs with Aquarian tailcoats
330 Peru: Nazca plain geoglyphs express ecological structure
332 Peru: Cuzco’s Coricancha constellations reveal an update
335 USA: California’s Painted Rock, theatre of time
340 USA: Lower Colorado River geoglyphs has a calendar clock
342 USA: Hopi kiva 5mT2, and its village, hinge on a womb
344 USA: Colorado’s Mystery Hill metallurgy plant or tech school
346 USA: Crow Canyon kivas Block 100 has two missing features

347 [Chapter P] Historic Western sites
348 Italy: Rome, eternal city with an Age update
350 Italy: Rome’s gates and bridges are eloquent
352 Italy: Rome’s Capitol Forum, contested but constant
354 Italy: Rome’s Quirinal forums for spiritual order
356 Italy: Rome’s Vatican City, a stoneprint inside type Aries
360 Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
362 Turkey: Ephesus, former city of Amazons and Artemis
363 Icons: Serapis and Ophiotaurus, half-monsters
366 Spain: Santiago de Compostella, of a son of thunder
367 Spain: St James and Hercules, hybrid planetary characters
370 Canary Islands: Las Palmas governor’s house facade
372 Canada: Quebec, Victorian ideals in stone
374 South Africa: Cape Town’s Dutch forts claimed a footprint

376 [Chapter Q] Structural analysis formats
376 Kinds of media in the 130 examples
376 Commission impossible: design a stoneprint site
377 Emblems, icons, constellations and Tarot trumps

382 [Appendices]
382 How to find the subconscious structure on a site plan
382 The structural analysis format
384 About the author
385 Sources and references

Categories
How to identify mindprint types and structure in art

How to identify archetypes and structure in art

Finding mindprint in a work of art is as simple as finding correspondences to any archetypally complete set or sets of about sixteen (twelve to twenty) items, such as pantheons (lists of gods), myth cycles, epics, emblems, lunar mansions, trumps, historic or fictional characters, constellations, heraldic devices, lyrics, or animals.

Researchers should tack characters in art to sets that they are familiar with, and use the mindprint axial grid and tables for confirmation (see the post What is mindprint, on this website. See Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com). Here is a shortcut method to finding the basics of the five layers of the archetypal art code;

[] Identify a likely periphery of figures in a roughly elliptical arrangement.

[] List the figures in their circular sequence, by any distinctive attribute, such as a posture, season, function, species, or device.

[] Provisionally tag the list or the artwork, with likely type numbers, such as 10 Teacher  for a figure with arms up or a staff, 12 or 13 Heart for a felid, 1 or 2 Builder for a bovid or tower, 5 Priest for varicoloured, skin paint or a hyperactive posture.

[] Tag figures notably ingressed or egressed towards or away from the centre, as 6 Exile or 14 Mixer.

[] Tag a pregnant figure as 11 Womb; and an adjacent major figure as 12 or 13 Heart (usually with an exposed chest), and the adjacent figure on the other side as 10 Teacher.

[] Infer a clockwise or anticlocwise sequence, and provisionally complete the labellling.

[] Count the number of eyes (for example 17), assume the lower even number (for example 16), subtract two (for example 14), skip half of this number (for example 7) between eyes, and draw tentative axes between each pair of likely opposing eyes.

[] If three or more axes cross at the same point, find the likely 11 Womb, and a likely 12 or 13 Heart, and redraw errant axes by not using their eyes (unless their eyes also find counterparts across the axial centre).

[] If three or more peripheral figures remain unaccounted for, assume a higher equal number (for example 18), and repeat the test with higher numbers.

[] Resolve the sequence by splitting up or combining the major doubles (1 /2 Builder, 5a/5b Priest, 8/9 Healer, 12/13 Heart).

[] Complete all the possible axes. Connect the equator from eye to eye (with the two exceptions).

[] Find one or two polar markers between 11 Womb and 12 Heart, or between 4 King and 5 Priest, near the equator (not near the centre). These poles are often on limb joints.

[] Find a polar marker nearer the axial pole, on or near the 15 Maker, 14 Mixer, or 13 Heart axis; which is often a limb joint, perhaps a jaw, vertical or horizontal from the axial centre or from one of the galactic poles. Connect this marker to the galactic pole to form a polar triangle (or if there is a marker on the opposite side, connect it to the galactic south pole).

[] Mirror the polar triangle on the other side of the ecliptic pole. Polar markers are not always expressed. Infer the inspirational date (spring) from the type that precedes the polar axle (midsummer) by an ideal 90 degrees (approximate, not measured on the distorted grid).

[] Apply the set of labels, one to each figure, and the four structural points, in sequence. Note that there is a choice of two labels (/) at the four major types if they are represented by only one figure (typical if the total is only twelve or fourteen);

1Builder 2Builder 2cBasket 3Queen 4King 4p
8Healer 9Healer 9cLid 10Teacher 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13Heart 13cHead 14Mixer 15Maker 15g

 

cp csp ? ?

The axial centre or ‘Ecliptic Pole’ is unlabelled to avoid clutter.

[] Half-types (2c Basket v 9c Lid, 5c Tail v 13c Head) are usually off the axial grid, but within their sectors, designated by the axes of the two types that flank each of them.

[] On a separate page, list the type numbers, with basic distinctive features or characters found in the artwork, to compare to other artworks, mindprint statistics, stories, myths or typological sets.

This structure applies to all artworks, in all cultures, in all ages, due to the structure of nature, perception, expression, and cultural media. Mindprint also applies to myths and legends, but it is difficult to extract to a subtext, due to typical fluctuation between characters, places, episodes, and time. In art, the time-slice of the story stands still, and the composition could be verified against the original, or reproductions in catalogues, books and electronic galleries, such as tourist image sites.

See a standard format for testing and reporting structural art or building site analysis, in the post on ;What is mindprint’ on this website.

 

Categories
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.