Archetypal structure in religious art Archetype in New Age and ayahuasca art

Denver Airport art mirrors world orders in mind orders

Leo Tangula’s paintings of apocalyptic bio-warfare and struggle between Facist and peaceful world orders, and mind orders, include some mystic symbolism, similar to Pablo Picasso’s Guernica. The main general theme in Order of Chaos is revealed by extra features of type 12 /13 Heart, which includes death, war and disease. Another general theme here is type 1 /2 Builder, typical of twisted postures, clusters, birds, towers and ruin.

Artist Leo Tangula’s paintings of apocalyptic bio-warfare, destruction, and struggle between Facist and peaceful world orders, include some mystic symbolism in Mexican panoramic political mural style and dynamic curves. His intention is similar to Pablo Picasso’s Guernica, which dramatises the horror of the Spanish Civil War to promote peace. The main general theme in Tanguma’s Order of Chaos artwork is revealed by extra features of type 12 /13 Heart, typical of heart (here of the mother and dead child), death (a procession of mothers with dead children, and slashed dove), rounded (sabre, shawls, wall, rainbow), weapon (sabre, rifle), or war. Four characters on two axes express this type here, two of these by their eyes and chest. Another general theme in this work is type 1 /2 Builder, typical of twisted postures (here of six characters), cluster (procession, and camp), bird (dove), tower (two), ruin (two), or book (here at 7).

Yet another general theme here is type 15 Maker, typical of churn (souls entering and leaving life), order (part of the title, ironically chaos), bag (shawls, respirator), weapon, or smite. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.

Leo Tanguma; Order of chaos, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.

Type Label; Character (noting archetypal features):

2 Builder; Window A ruin (twist, tower, build, ruin).

3 Queen; Window A ruin (sacrifice).

4 King; Window B (rectangle) ruin.

5a Priest; Window C and floor (horizontal).

5b Priest; Window D ruin.

5c Basket Tail; Poem manuscript (weave, reveal) by Hama Herchenberg, 14, who died in Auschwitz Nazi concentration camp in December 1943: “I once was a little child who longed for other worlds, but I am no more a child for I have known fear, I have learned to hate, how tragic then is youth which lives with enemies, with gallows ropes. Yet I still believe I only sleep today, that I will wake up a child again, and start to laugh and play.”

6 Exile; Dove or Peace stabled (sacrifice).

7 Child; Book (‘bag’, unfold, eyeless).

7g Gal.Centre; Box? (juncture).

9 Healer; Teddy bear (‘strong’ in irony) as comfort (heal).

10 Teacher; Child holding (arms up) toy bear (‘hunt-master’ in irony).

11 Womb; Mother’s midriff (womb).

12 Heart A; Dead (death) child.

12 Heart B; Dead (death) child’s chest (heart).

12 Heart C; Mother’s chest (heart).

12 Heart D; Blonde woman.

13 Heart A; Mother.

13 Heart B; Woman in white shawl.

13c Basket Head; Woman with shawl (hat) in procession of mothers.

14 Mixer; Procession of mothers.

15 Maker; Fascist soldier with bandolier (rope), strident (rampant), imposing rule (order), with gas mask (face, bag), gun (‘mace’, weapon), slashing (smiting) a peace dove.

15g Gal.Gate; machine gun (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Wall between two ruins (juncture).

11p Gal.Pole; Blonde woman’s jaw (limb-joint).

Midsummer; Soldier’s thumb (limb-joint).

Midwinter; Child’s foot (limb-joint).

The polar triangles are on the horizontal and vertical planes. The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by ,,,,,, prominence. Transitional time-frames are typical of themes of change.

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

  • See another Denver Airport artwork on
  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illsutrations, A4, perfect bound, $16), from on:

Some Stoneprint Journal editions are also available on

By Edmond Furter

Edmond Furter wrote the book Mindprint, the subconscious art code (2014,, to demonstrate five layers of recurrent features in 200 artworks of all cultures and Ages, revealing the archetypal core content of culture. His second book, Stoneprint, the human code in art, buildings and cities (2016, Four Equators Media), expands demonstrations of the subconscious expression of archetypal structure to houses, temples, monuments, pyramid fields, geoglyphs, villages, cities and regions. The same structure also appears in mythology, such as Babylonian building rituals; and in reflexology points in our hands and irises, thus in nature. Stoneprint also demonstrates that the periodic table is a kind of natural 'culture', and that culture is a natural 'species' of behaviour. The structure in our works is as rigorous as grammar or DNA.
The books Mindprint, and Stoneprint, and editions of the structuralist anthropology periodical, Stoneprint Journal (some of which are available on, draw on extensive research in iconography, archaeology, history, esoterica, astronomy, art history and structuralist anthropology, spanning 26 years.
The core content of culture includes about 100 recurrent features of the sixteen main types, their sequence, five polar markers, and a time-frame orientation, that nature, individuals and societies subconsciously and compulsively express in all media. The mindprint or stoneprint model of structuralist anthropology has several major implications for all the human sciences, and offers a theoretical bases for a holistic approach to the study of the cultural record. Edmond Furter works as a freelance researcher and editor in Johannesburg.
Order the book Mindprint at $30, or the book Stoneprint at $30, or editions of Stoneprint Journal at $5, plus postage, on edmondfurter at gmail dot com; or Mindprint, or Stoneprint Journal editions on

5 replies on “Denver Airport art mirrors world orders in mind orders”

Is this a time indication?: ‘The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces,’. And when is that?
What role do children play here in bringing peace?
Is this prophetic?
When was the artwork completed?
What is implied with world orders as mind orders?


Children in the Denver Airport art panels by Leo Tanguma, literally stand for the generations affected by hyper exploitation, raising awareness of stress at dwindling prospects.
In Order of Chaos, children are innocence, potential change, and victims. In his other paintings in the airport, children overcome fascism, rescue the environment, and forge world peace.
The artist may have been inspired by the Lionel Richie /Michael Jackson /Quincey USA for Africa song We are the world. The same ethic that inspired Greta. However my post is not about conscious motives or ‘programmes’, nor about the various kinds of symbolism, but about subconscious core content in cultural media, which is now measurable, and of rigorous structure and rigorous average percentages.
About the time-frame, When artists subconsciously express the cycle of archetypes in their characters, and place their eyes on an axial grid, there are always some limb-joints or junctures in certain positions that express the time-frame of the artist, usually the Age prior, when the relevant local culture formed, or is imagined to have formed. These markers are always approximate.
Age Aries-Pisces transition was about BC 80. This artist lived near the end of Age Pisces, which ended in 2016 (as I demonstrate by the position of the spring equinox relative to the two galactic ‘gates’, or ecliptic-galactic equator crossings).
Many recent artworks express a previous transitional framework, and a few expressed the then forthcoming transition (see my posts on ayahuasca and other styles inspired by Age transition ethic, on and on
My heading focuses on the conflict between Fascist regimes and the drive for repentance and world peace, as outward expressions of our ever conflicting inner motivations to exploit and to conserve and co-operate. I develop these themes more in three articles about Divide and Kill culture versus repentance and Oracles of the Dead, in other posts on, two extracts of which are also on
Most ‘prophetic’ artworks, myths, rituals and icons resemble certain events only due to both expressing certain types of archetype. The 9/11 terror attacks seem to have been predicted in the Tower of Babel story from Babylonia and repeated in the Bible, and by alchemical emblems and verses by Michael Maier and other sin the 1200s, and by Tarot trump 16 (a higher magnitude of type 1 Builder /Ruiner), and by some modern artists, but the correspondence is purely due to archetype. My book Mindprint, 2014, has a chapter on this apparent ‘prophetic’ effect in artworks and rock art works (avaiable on


I know from other examples on your blog that you normally connect the eyes of people /animals that are diagonally opposite one another, and if it’s a female, sometimes the womb. You then analyze the characteristics of the person or animal based on astrological characteristics and archetypes, ending up with a grid that includes all 12 astrological signs in the correct order.
In this artwork you use only archetypes? |I don’t understand how you identified the points for Queen, King, Priest, and Builder as ‘ Window’.
The grid you made is not based on astrology, so what is the purpose and does it contain some (chronological) known order?


Type 11 Womb, usually (87% of artworks on average) has her axis to her midriff, not her eyes. Typological features are now known due to statistics from artworks. Astronomy and astrology imprinted relevant myths in the sky, eg Perseus, Andromeda, etc. These labels express only some archetypal features. Constellations do not express an axial grid. The cycle of archetype does not follow astrology. All media express archetypal structure.
The sequence of archetypal numbers appears in nature, for example in the Periodic table of elements, in the number of protons, or atomic number. One of my posts give an extract from the book Stoneprint (2016).
Archetype does not have a purpose, it is the set of guiding principles, or structure, that enable and set bounds to they way that matter and energy interchange. That structure extends through all of nature, into human nature, and into our supposed ‘works’. It is now readable as the ‘grammar’ or ‘DNA code’ of perception, expression, and of meaning itself.
Archetype could be known only through its expressions in nature and culture.
Part of our subconscious ‘purpose’ in re-expressing archetypal structure in all our media, is that communication, and meaning itself, is impossible outside the bounds of archetype.


The artists subconsciously expressed archetypal character types 2, 3 (here combined), 4, 5a and 5b, as absent people in the windows of a ruined building. One of the dominant subconscious archetypal themes in this artwork, is type 1 /2 Builder, which features include build /ruin. Among the iconographic expressions of this type, are Tower of Babel; alchemical emblems of struck towers and torn treaties, eg by Basil Valentine; Tarot trump 16 (the higher magnitude of 1 in archetypal base7/8 or base 15/16, where the shift occurs at 5a:20, 5b:21), Tower struck by lightning, with builders falling out of windows; 9/11 terror attacks (which I demonstrate in the book Mindprint, 2014).


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