Kuba Ambrose and Vera Atlantia’s Rainbow tribe artwork of ayahuasca or DMT trancers in Eden, expresses two concentric cycles of characters, with their eyes on two axial grids, nested in one another. This subconscious expression of archetype is rich in semantic (contextual), semiotic (core meaning) and spatial connections and coherence; for which it sacrifices some individual differentiation among the characters. Archetype guides natural, inherent order in all art styles; in built sites; and in several other media once thought to have been ‘invented’ or ‘developed’ or ‘evolved’. Culture re-expresses natural structure.
Amanda Sage’s collaboration artwork of the 2001 New York terror attack in surreal and abstract style, is similar to some rock art and ayahuasca artworks, where ‘entoptics’ appear among representations. her themes recall the Babylonian and Biblical Tower of Babel tale, including warring bee tribes; and Tarot trump 16, Tower struck by lightning; and Basil Valentine’s alchemical emblem of an island city struck by lightning. These works express type 1 Builder or Ruiner.
Some rock art works also use abstract shape as subconscious characters (see Furter 2017a; Recurrent characters in rock art reveal objective meaning, in Expression 16, June. Italy: Atelier Etno). Below is the structuralist analysis of how this artwork expresses universal archetypal features, in the standard structuralist anthropology format.
The main general theme in Bryan Ward’s artwork Entheogenic garden of Eden, is type 15 Maker or Re-creator, expressed here as nature, and the plant, animal and cultural kingdoms giving birth to one another and to mutual awareness. The high level of integration of sub-themes indicates spiritual and mental integration of the artist, and of the genre of psychedelic art’ and the high level of integration of Eden and Genesis themes in myth, surreal styling, ritual and language; but due mainly to the rigorous way that archetype expresses itself through nature, cultural media, and the works of gifted artists.
Martina Hoffman’s artwork, Caught in the web, consciously develops graphic themes of creation, knowledge, ecology and ayahuasca visions; and subconsciously expresses the universal structure of space, time and meaning, as all complex artworks do. This post includes a guide to how to identify archetypal features in artworks or built sites, in the standard format for structuralist anthropology data.
A sense of immanent doom was palpable in popular culture understatements of the 2001 9/11 terror attacks; 2012 Mayan Long Count zero; global financial crisis; Arab Spring waves; pollution; and Age Aquarius (since 2016). The 2019 autumn mass protests (assembly, archetype 5) worldwide, for freedom and environment, against ‘extinction’ (5v13), herald the Age of science, ritual, administration, hyperactivity, global friendship and standards. Marc Alexander’s death and oracles collage subconsciously expresses the archetypal structure in unusually dense detail. This post includes a guide to how to identify archetypal features in cultural media.
Rennes le Chateau archetypal landscape includes Couiza. It is as complex as in the earlier, adjacent Bains. At Rennes the eternal structure is now identified in subconscious expressions at several levels of scale: in the church domain; church floor plan; and church mural statue group (see other posts). The same applies to cities, including Paris and London (Stoneprint Journals 3, 4). Priest Berenger Sauniere, like Boudet in neighbouring Bains, unknowingly served the global, subconscious agenda of all cultures, each in different styling.
Around Rennes les Bains valley is a ragged oval of higher sites, each characterised by nature, history, buildings and legend, as Bains priest Henri Boudet (1886) noted in puns and riddles. This ‘equator’ of sites makes the Sals basin a concave, lower sphere of waters ‘under the earth’, next to the plateau and knoll of Rennes le Chateau as an upper sphere. The Bains stoneprint diameter is about 3x4km, similar to Jerusalem, Rome, London, Paris and other building sites, but rural.
In the hothouse of culture and legends at Rennes les Bains and Rennes le Chateau, the eternal archetypal structure is camouflaged in an unusually wide range of styling. The structuralist anthropology model of optional recurrent features is identified at several levels of scale. Here is an introduction to Stoneprint Journal 6, and a map of the five points where the subconscious patterns in the two adjacent landscapes converge.
Example of structuralist art analysis, of a Hopi Candle Night ritual scene, and a Dogon painted mud relief mural. Members and students recognise several stock kachina characters, rituals and items, and Dogon myths. But artists, members and students of any culture, could now identify the archetypal features in any artwork by using the axial grid between eyes, and the list of recurrent archetypal features, on which culture is based (Furter 2014, 2016). The characters are not ‘constellations’.
Greek Cycladic islands salt evaporation pan bases often traced out planetary calendars. One terracotta pan bottom incidentally expresses the archetypal cycle of sixteen types in a rare axial grid. The rare design compares well with Egyptian polar decans (see another post on the Seti1 ceiling), but due to archetype, not diffusion.