American stoneprints Dogon mindprints natural archetypal structure

Archetypes in modern Hopi and Dogon ritual art

Here is a Hopi Candle Night ritual scene by the modern artist Raymond Naha, in hyper-realistic style (compare to peyote- or mescaline-styled art, and ayahuasca-styled art, and other old and modern Hopi artworks, at ); and to a Dogon ritual mud relief mural. Universal, archetypal features in these works are demonstrated below. The characters are not ‘constellations’. Art, and probably all cultural media, is sustained by individual and social compulsion to re-express a specific set of features, in apparently different styles.

Hopi Candle Night ritual, by Raymond Naha. Members and students would recognise some stock kachina characters, rituals, and items. Structuralist analysis could reveal five layers of subconscious ‘design’ here, and in any artwork.
Dogon mud relief mural, re-modelled and re-painted every year. Astronomers could not find a comprehensive star map in Dogon art, ritual or myth. Five layers of structure indicate that artworks and other media are archetypal, thus subconscious. See the section on initiation below.


Hopi Candle Night ritual (Raymond Naha. Typology labels and axial grid by Edmond Furter). The work is homogenic (one species, one activity), and minimalist in structuralist terms, yet still the number of predictive universal cultural features is within the predicted range.
Dogon mud relief mural in Mali (after Michele Afeirei. Typology labels and axial grid by Edmond Furter). The number of predictive universal cultural features is within the predicted range.
Hopi dance ritual scene by Raymond Naha (axial grid between eyes and two focal points by Edmond Furter, indicating that the usual typology is present, in the standard sequence, with the standard polar features and time-frame markers). See a list of the standard labels, and standard caption format, in some other posts.

Artists, members and students of any culture, could now identify archetypal features in any artwork, by using the axial grid between eyes, and the list of known recurrent archetypal features and spatial elements (Furter 2014, 2016).

The Dogon mural is often photographed by tourists, and explained by Dogon guides as “astronomical”. Two astronomers who visited here in 2009 believed the guides, but could not explain how Dogon art relates to Western constellations. They noted that meteor showers and comets were somehow involved, but assume that the “knowledge” is “lost”.

Structuralist analyses of this Hopi artwork, and this Dogon artwork, are posted above. There are cosmic elements in culture, but direction, season and myth are not primarily astronomical.

See the list of known archetypal features, and a definition of mindprint, and a guide to identifying the five layers of archetypal structure in artworks; and more old and modern Hopi artworks; on

Here is an extract from Stoneprint (2016);

Initiation prompts natural and cultural inspiration

Cultural media contain a kind of secret that is difficult to divulge, because it runs against common assumptions. Eleusis in Greece never published its secrets, because it traded in ritual experience, pilgrimage, stories, emotion, perhaps drugs, and tribal bonding. These are not recordable in conscious terms.

Rites of passage are not philosophy, science, or oracles. Initiation implies ‘transfer’ of ‘knowledge’, but this view is doubly misleading, unless the initiate realises that the system grants permission to express his or her own inspiration, and incidentally to re-calibrate and maintain the social system. Tribal initiation carries a mixture of history, politics, legend, myth and religion, partly to maintain spiritual authority.

Marcel Griaule’s expedition in Mali on the Upper Volta River from 1931 to 1947 waited sixteen years as Dogon sages explained their symbols (Griaule 1965; Conversations with Ogotemelli). The secrets were “open to all who show a will to understand, and by social position and moral conduct is judged worthy, patient, and in a required state of mind.”

In 1931 some Dogon elders started explaining at a simple level at Ogol, a double village. Sanga region totemic priests were involved in the counter-missionary ritual. Ogotemelli explained for 30 days at first, stretching into years. A successor followed up.

The subject of water gods alone required several days of a meandering flow of information (Griaule 1965; Le Renard Pale). The elders probably adapted spiritual visions to political and diplomatic strategies, as shamans always do.

The supposed ‘knowledge’ is not in rational form, but coded in myth and art, some in sand drawings and some on buildings. Disguise and camouflage is part and parcel of inspiration and expression, since conscious questions and answers could not reveal the full context of subconscious structure.

Initiation is understood as secrecy, while it implies a different rationality. Those of ‘ready mind’ are encouraged to see the vision themselves. Days of explanation prompt the candidate’s own inspiration. It takes time to unlearn common sense. Initiates require tribal bonding and some assurance and permission to graduate.

It could take years of membership, or rambling by a healer, to unlearn supposedly logical assumptions and to see the pattern implicit in shapes and everyday attributes.

Culture, like race, is a state of mind. Dogon, Amerindian, and other sand drawings, typically cruciform and axial, get some teachers and initiates in the right frame of mind.

Anthropologists took the spiritual tales as ‘accumulated tradition’, as popular culture understands sacred books. They had assumed the stories to be motivated by events, and sustained by memory and records. But prevalence of the identical subconscious imprint in all cultural media or all eras, indicate that there is no conscious, unbroken, astronomical, astrological, iconographic, alchemical or artistic tradition in any culture, nor worldwide. The eternal source is our compulsion to re-express archetypal structure in all our media.

American skin painting ‘legends’ (after Notley. Axial grids by Edmond Furter). Subconscious expression of the five layers of archetypal structure, within narrow ranges of variation, is already demonstrated in 650 artworks and 50 building sites of all media, all cultures, and all known eras. See also and
Stoneprints in historic Western sites

The Parliament Square statues stoneprint

Parliament Square lies on London’s axis 5a Priest B. Among the archetypal features of type 5, are ‘assembly’, ‘varicoloured’, and ‘world’. Eleven statues of democratic leaders, form two thirds of a small-scaled but dense stoneprint cycle here, probably awaiting five more iconic characters (on the blank axial lines in the map).

London type 5a Parliament Square, with existing and potential future statues (after Londonphototours. Type labels and axial grid by E Furter).

The general theme in this square includes type 5b Priest (state and religion share many hallmarks, as social anthropology recognises). All five layers of structural expression are subconscious to artists, architects, builders and members of any culture. There was no master plan for placing these statues in advance. Events, inspiration and compromises conspire to express structural ‘grammar’ in artworks and building sites.

This edition of Stoneprint Journal; Stoneprint tour of London, is available by mail order from (24 pages, $18) on this link;

Students and lovers of art and rock art should order it with the book Mindprint (264 pages, 200 illustrations, about $29).

Type label; Statue (archetypal features):

[]1 Builder; George Canning, with scroll (book). Prime Minister 1827 for 119 days, died in office. Moved here from New Palace Yard (just east of the square) in 1832, first statue in Parliament Square 1867, position moved 1949.

[]2 Builder; Edward Smith-Stanley, PM thrice, chancellor of Oxford University, with scroll (book).

[]2c Basket; Abraham Lincoln, USA president, who abolished slavery, and was assassinated in a plot (secret).

[]3 Queen; Benjamin Disraeli, as earl. PM 1874. Jewish born Anglican.

[]4 King; Mahatma Gandhi, Indian PM. He often sat on the floor (squatting), as some other statues model him. He may express type 4p (limb joints) instead.

4p Galactic South Pole; Gandhi? Closer to the centre (polar), low plinth (juncture), bare lower legs (limb-joints).

[]5a Priest; Robert Peel, PM 1834 and 1841.

[]5b Priest; Nelson Mandela, first democratic (assembly) South African president, black with some Khoe genes (varicoloured), who wore varicoloured shirts.

[]5c Basket Tail; Underground rail (container).

[]6 Exile; >? [Walpole? Theresa May? scapegoat?]

[]7 Child; >?

[]8 Healer; >?

[]9 Healer; >?

[]9c Basket Lid; Underground rail (container).

[]10 Teacher; >?

[]11 Womb; >? Margaret Thatcher (womb, law) was planned, but set for Middlesex Guildhall Supreme Court, west of the square. Suffragette Millicent Fawcett (womb) was also planned, but not sited.

[]12 Heart; Winston Churchill, PM in WW2 (death, war, bastion, weapon).

[]13 Heart; David Lloyd George, PM in WW1 (war) 1916, ordered bombings in the Middle East and India (weapon). Welsh (felid), noted for a “leonine head”. The name David is of a lion (felid) tribe.

[]14 Mixer; Jan Smuts, South African PM in WW2, near the axial centre (ingress).

[]13c Basket Head; Garden before the Treasury (container). And underground rail (container).

[]15 Maker; Henry John Temple, Lord Palmerston, PM twice, 1859. First PM of the Liberal Party (re-creator), holding cloak (bag).

[]15g Galactic Gate; North-west corner path (gate, juncture).

Axial centre; Unmarked, as usual.

Midsummer and midwinter; perhaps north-south of the centre, placing midsummer between axes analogous to Leo-Cancer; thus spring and the cultural time-frame in Age Taurus-Aries. The time-frame is before the work as usual, at the perceived time of formation of the current culture.

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The mindprint or stoneprint model of archetypal characters, labelled as social functions (after Furter 2014. 2019). Nature and culture projects archetypal structure around an axial centre, with some features analogous to cosmology (which also expresses archetypal structure). Radial distances are random in artworks and cultural sites.



David Lloyd George, expressing type 13 Heart in the emerging stoneprint in Parliament Square, London.
Jan Smuts, expressing type 14 Mixer in the emerging Parliament Square stoneprint.
Nelson Mandela, expressing type 5b Priest in the emerging Parliament Square stoneprint in London.
Mahatma Gandhi expresses type 4 King, or the adjacent 4p (limb joint or juncture, analogous to the Galactic South Pole), in the emerging stoneprint in Parliament Square, London.

London authorities have announced that they do not plan to erect any further statues in Parliament Square, for being “crowded” with statues, but the incomplete cycle is likely to attract completion. A statue of Margaret Thatcher was planned for the adjacent Supreme Court at Middlesex Guidhall (from where George Canning and Abraham Lincoln express their parts in the Parliament Square cycle). Completion may take a century or two.

STONEPRINT Journal series

This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. Order from Lulu on this link:

Or order the book Stoneprint (2016, R250 /$/E30 plus postage), or Mindprint (2014, also on; or journal editions including some full colour pages; or slide show talks; or to contribute articles, email edmondfurter at gmail dot com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4

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1 Pictish beasts ‘zodiac’

2 Crop circles are natural artworks

3 Stoneprint tour of Paris

4 Stoneprint tour of London (at $/E18 /R90 plus postage). Also from (24 pages, $18),

5 Culture code in seals and ring stamps

6 Rennes les Bains and Rennes le Chateau stoneprint tour. $10

Students and lovers of art and rock art should order journal/s with the book Mindprint (265 pages, 200 illustrations, about $29).

The human code in Ice Age sites

Gobekli Tepe House B, type Taurus in the Ice Age village

Kiva-shaped houses on a low hill near Sanliurfa and Haran in eastern Turkey, are a halfway house to civilisation, between caves and cities, but with the full cultural repertoire………. Carvings in House B feature two snakes, two foxes, a quadruped, and an unidentified figure. B is small, with an outer diameter of about eleven metres. The floor is terrazzo. Most of the pillars were probably moved, and the house remodelled, like all the round houses so far excavated. The sequence of archetypes in House B is (noting archetypal features):

1 Builder/Sacker or Taurus; SW pillar. Headless. Propped on slabs. Lizard or snakes? Back edge; snakes (like adjacent 15). (Tag B14)
3 Queen or Aries; WSW pillar south edge (the north edge expresses type 4. Two-headed is more typical of 6). Flush on the wall. Central hole. (Tag B15)
4 King or Pisces; WSW pillar north face edge (the south edge expresses type 3). Flush on the wall. Central hole. (Tag B15)
5 Priest or Aquarius; West pillar. Propped on slabs (like 1). Rear outer edge; snakes. (Tag B16)
6 Exile or Capricornus; NNW pillar
7 Child or Sagittarius; North pillar. The pillar is slightly rotated, or the map is inaccurate. (Tag B34)
8 Healer or Scorpius; NNE pillar
10 Teacher or Libra; ENE pillar south edge. Flush on the wall
11 Womb or Virgo; East bench (87% womb)
11p Galactic Pole; SE pillar. (Tag B8)
13 Heart or Leo; ESE bench (85% heart).(Tag B8-B7)
14 Mixer or Cancer; SSE pillar. (Tag B7)
15 Maker or Gemini; South pillar. Rear edge; lizard over snakes (more typical of adjacent 15g Gate. As at 1). (Tag B6).

The ecliptic pole or axial centre is probably unmarked (55%).
The celestial pole could be on the central east pillar, at the jumping fox jaw (limb-joint), or on the pillar corner (limb-joint).
The celestial south pole could be on the central west pillar, at the jumping fox shoulder, over the small graffito of a boar or rodent. These markers may place summer in Virgo, thus spring and the time-frame in Age Gemini.
The general theme in House B is type 1 Builder /Sacker or Taurus, consisting of decans Auriga and Orion, typical of rain, thunder, churns, towers, and ruins; adjacent to the galactic gate, typical of churn groups and snakes (see the formal churn group emblematic tradition in Indian art, in Mindprint p234, 236, 239; and in Egyptian ‘lung and windpipe’ churns between Horus and Seth with papyrus ropes).
The stoneprint analysis score in House B is ….

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If these houses or pillars were conscious astronomical mapping, then certain other features should be prominent:
[] celestial alignments, north-south and/or east-west?
[] solstice alignments, between 25 to 35 degrees ENE/WSW or ESE/WNW?
[] long sight-lines to horizon markers?
[] levelled terrain?
[] artworks with consistent geometry and motifs?
[] buildings of consistent geometry?
There is no evidence of any of these, except perhaps the holed stone in House D, pillar 5, on a potential celestial north, slightly west of modern north.
However the D5 hole is set low, and part of Gobekli hill is in the way of a potential north transit sightline. Considering extensive evidence for the consistent presence of all five layers of stoneprint, as in all the buildings in this book; and as in all artworks (see 200 examples in Mindprint [since expanded to 600 examples], and two Gobekli Tepe artworks below), subconscious expression is more likely to explain all cosmic features, except for very basic calendric observations.
Complexity alone is not evidence for conscious science, rather for inspired art. There is no reason to assume that the work is proto-science (see Stonehenge, and Magdalenburg, in the Prehistoric Europe chapter, where some astronomical functions co-exist with the standard subconscious expression)……………….

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