The archetypal model of subconscious expression is validated against hundreds of artworks of all times, cultures and styles, including sugar, caffeine, cannabis, ayahuasca, DMT, cactus, mescaline, mushroom, psilocybin, rock art and ‘fine’ or ‘academic’ styles. The standard structuralist anthropology analysis named mindprint, follows a set format to enable comparison worldwide (see the paper Blueprint on http://www.edmondfurter.wordpress.com and on Researchgate or on Academia.net). All complex artworks express 60% of the 100 known features of archetype, in five layers (see other posts on archetypal structure in built sites, icons, hieroglyphs, alphabets, and in natural media such as the periodic table of elements). Archetype regulates the ‘grammar’ of energy, matter and meaning. Here is an example of subconscious structure in a DMT-styled artwork titled ‘Peace Pipe’.
General themes in Lilian Kolster’s Peace Pipe vine artwork, are types 2c Basket, typical of woven texture (here vines and smoke), instruments (pipe stem), or containers (pipe bowl); and type 3 Queen, of long necks (buzzards, and fox pipe neck), queen (here taking the place of the adjacent King), spring (leaves), or school (insight from meditation); and type 4 King, of birds, or furnace (pipe bowl). Life cycles offer some insight into natural patterns, as the caterpillar smoking a hookah does in Alice in Wonderland. Below is the standard list indicating which optional features Kolster expressed in this painting.
Type Label; Character (archetypal features expressed):
1 Builder; Buzzard B (bird) hovering (twist), in a group (cluster).
2 Builder; Buzzard C (bird) hovering (twist), in a group (cluster).
3 Queen; Buzzard D (neck long and bent, beak long and bent).
4 King; Vine smoker (‘furnace’) with feathered neck (bird).
5a Priest; Buzzard E (winged, colours) hovering (hyperactive), at nectar (‘water’).
5b Priest; Butterfly A (colours, hyperactive, winged).
5c Basket Tail; Butterfly B from smoke (tree/herb, reveal). And pipe (container) of burl or root (tree) with smoke (herb, reveal). And Buzzard F. And Dragonfly (tail).
6 Exile; Bee-eater?, far from the axial centre (egress). And Budgie B, near the axial centre (ingress).
7 Child; Bee-eater? chick (juvenile). Off the grid (eyeless), as type 7 often is.
14 Mixer; Owl A (bird), far from the axial centre (egress).
15 Maker; Buzzard A (winged), upward (rampant).
15g Gal.Gate; Insect.
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Buzzard E’s wing (limb-joint).
11p Gal.Pole; Unmarked.
Summer or celestial pole (cp); Buzzard A’s feet (limb-joint). Winter or celestial south pole (csp); Unmarked. The solstice axle is on the vertical plane of the axial centre. These markers place summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, confirmed by the large face expressing type 4 or Pisces. Most artworks express the time-frame of a previous Age, when the culture of the artist was formed. Age Aries-Pisces spring was about BC 80.
Structuralist features of expression are universal, and subconscious to nature, artists, architects, builders, crafters and members of any culture. This example is one of 800 confirming the archetypal structuralist model, named mindprint in art, stoneprint in building sites, and blueprint in myth, pantheons, iconography and alphabets.
See articles on the model, and other examples, on http://www.mindprintart.wordpress.com. Order the book Mindprint (2014, 270 pages, 200 illustrations), or select editions of Stoneprint Journal (16pages or 24pages), on Lulu.com. Mindprint is also stocked by Barnes&Noble.
Order the book Stoneprint by email to www dot edmondfurter dot gmail dot com at $/e25 plus mailing cost from South Africa.
The main general theme in Bryan Kent Ward’s Entheogenic garden of Eden, is type 15 Maker or Re-creator, expressed here as nature, and the plant, animal and cultural kingdoms nested in one another, and in mutual consciousness. Type 15 Maker is typical of subconscious expression of churns (here a circle of life); ropes (here roots and intestines); order (natural kingdoms); bags (bulbs); doubling (genders); reptile (snakes); and wings (of Adam). Type 15’s axial opposite is type 7 Child, also typical of bags and ropes (as above); juvenile; and unfolding (here as foetuses and hominids). The high level of integration of sub-themes indicates spiritual and mental integration of the artist, and of the genre of psychedelic art.
Ward himself sees this work as “Subversion of the garden of Eden and Adam and Eve; a serpent tempting by forbidden knowledge in natural life, fruit and plants; visual play with ideas of alien consciousness in insects; and shapes common to jellyfish, psychedelic mushrooms, and a nuclear fusion cloud, as manifesting symbolic transubstantiation of Christ consciousness.”
Several general typological themes are directly pictured here, due in part to the high level of integration of Eden and Genesis themes in myth, surreal art, ritual and language; but due mainly to the rigorous way that archetype expresses itself through nature, cultural media, and the works of gifted artists. General themes here include:
2c Basket, of shoulder humps and armlinks (Adam and Eve’s nine shoulders); containers (bulbs, bodies). The time-frame or ‘spring’ position in this work is also 2c (see notes under the polar markers bleow).
9c Lid, of discs and lids (skulls); pillars (tree); secret and revelation (here of invisible connections made visible in holographic vision). Ayahuasca artworks tend to express c-types unusually strongly.
10 Teacher, of raised arms (Adam, Eve and the tree); council and school (species instructing one another); ecology (holographic nature).
11 Womb, of midriffs (Adam’s and Eve’s wombs, foetuses); crops (bulbs, fruit); water (pool); law (here natural integration itself); tomb (ancestral species).
14 Mixer, of time (species); transform (re-creation); and tree.
The work subconsciously integrates several general themes, identified by archetypal axes in the structuralist analysis, in standard format below.
Type Label; Character (archetypal features):
02 Builder; Sun or moon (spring).
02c Basket; Third eye (secret) of the animal head on forehead (hat, container?) of tree (weave).
03 Queen; Tree (long and bent neck) with root tongue (dragon?), right eye, instructing (school) Adam.
04 King; Tree left eye (twins) with tongue of flame? (furnace).
04 King B; Tree fruit, eaten by bird (bird).
05b Priest; Mantis (colours), ‘praying’ (priest) and aiding in making Eve (hyperactive), oversized (large). See other type 5 mantids in Amatola rock art, resembling Egyptian Naqada style (Furter 2014; Mindprint p,,,,,,); and in Willem Snyman’s Light bulb Eden (forthcoming).
06 Exile; Butterfly (small), far from the centre (egress). And tree (tree) tongue snake (reptile), near the centre (ingress).
07 Child; Eve developing (unfold, bag, juvenile) from a root (rope), her head outside the frame (beheaded, eyeless). And a tree root person (rope) in a group.
07g Gal.Centre; Roots and bulbs (juncture, water).
09c Lid; A bird skull (disc, hat, lid) in a heap (hump). And coiled (wave) snake (snake, reveal) between Adam’s left arms (armlink).
10 Teacher; Hominid (huntmaster?) skull (disc) in a heap (council, ecology, school).
11 Womb; Foetus B in heap (womb, tomb). And Adam’s midriff (womb) linked to Eve.
11 Womb B; Foetus A in heap (womb, tomb). And Adam’s midriff (womb).
13 Heart; Adam’s throat wound where his heart (heart) is inserted or removed (death); winged (angel).
14 Mixer; Adam (time?), winged (angel). And his third eye (transform); splitting from a tree (tree), into a couple (transform).
15 Maker; Adam’s heart removed (churn) by branched hands (rope), creating (order) Eve (doubled).
15g Gal.Gate; Pool (juncture, water).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Tree’s ‘jaw’ (juncture).
11p Gal.Pole; Adam’s chest wound (juncture).
Summer; Adam’s upper left shoulder (limb-joint).
Winter; Tree’s ‘jaw’ hinge-point (juncture).
These seasonal markers are very near the horizontal plane, confirming summer on axis 13-13c, placing spring and the cultural time-frame in Age Taurus-Aries or Basket. Transitional time-frames are typical of works consciously themed on cultural renewal. The top central position of type 2c, and the small distant ape or person as another 2c, confirm the time-frame. C-types are off the axial grid, but between specific axes.
The ape-man (limb-joints) in a small tree (juncture) is an alternative summer marker, near the vertical plane, opposite the alternative winter marker as Adam’s upper left wrist (limb-joint). This solstice axle (as traced on the image) places summer near axis 2 or Taurus, thus spring and the cultural time-frame in Age Aquarius, perhaps confirmed by the prominence of type 5 Priest or Aquarius as a large mantis.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Archetype is the ‘DNA’ in all cultural media
The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 100 known recurrent motifs in complex artworks, built sites, and other cultural media. The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is pre-determined by archetype.
Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).
Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features.
The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.