Ayahuasca Artists Express Universal Meaning
Artwork by Nic Warner :www.society6.com/amidreaming / Archetypal labels and axial grid by Edmond Furter
Guest article by Edmond Furter
Author of Mindprint (2014, Lulu.com); Stoneprint (2016, Four Equators Media); and editor of Stoneprint Journal (Lulu.com). Visit www.edmondfurter.wordpress.com / www.stoneprintjournal.blog / www.mindprintart.wordpress.com
Artworks inspired by ayahuasca visions are part of the structuralist anthropology data that revealed about 100 recurrent motifs in subconscious behaviour since 2010. Features and spacing of characters in artworks enabled my discovery of five layers of perception and expression in all styles and cultures. Below are two examples, and a guide on how to identify the subconscious structure, or visual and spatial ‘grammar’, in any complex artwork.
Structuralist analyses of other media (building sites, divination sets, ritual and myth) from 2016 confirmed that 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 (Furter 2014). Demonstrating this natural, inborn imprint in artworks (see examples of ayahuasca art below) reveals how themes, symbols, styles and even ‘different’ media all use the same repertoire of features (see the list of known features by May 2019, and the axial grid graphic below).
After 26 years of study in the human sciences (anthropology, psychology, sociology, archaeology, art history) and crafts (astrology, I Ching and other forms of divination), in 2010 I found five layers of previously unknown features structure in rock art, and started testing other art forms, styles, and media in the cultural record. By 2011 I had confirmed one specific structure, at identical average frequencies, in Renaissance, ‘Ethnic’, Religious, Modern, Surreal, Abstract and all other recognised art styles.
Pablo Amaringo: Self-portrait.
By 2013 some of Pablo Amaringo’s ayahuasca-styled artworks were part of the evidence (Furter 2014; Mindprint p157. It is included below, with updated labelling).
In the caption published in 2014 I noted that the four priests in the centre expressed type 5, analogous to constellation Aquarius (not the same as a ‘sign’). Elsewhere in Mindprint I demonstrated by division of the ecliptic (sun’s apparent path due to earth orbit), using the two galactic gates and galactic poles as fixed points, unaffected by precession, that Age Aquarius would start in 2016.
These features are in the fifth layer of Mindprint, unknown to most artists, yet all artists express them, along with an average of about 60% of the total of optional features.
Consistent complexity is among the many features to confirm subconscious behaviour, since the 700 artists tested by 2019 were not in contact or collusion.
Ayahuasca art masters
Around 2017 I confirmed that several artists inspired by ayahuasca visions were designing works as complex in conscious concept, and in subconscious structure, as masters in any other style or school (some of these artworks are posted on www.mindprintart.wordpress.com, and some more structuralist analyses of artworks in the DMT Times gallery will be posted on DMT Times soon).
The only structuralist difference from earlier styles is that the inherent timeframe in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found only 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 its opposite, type 13 Heart, in the artworks; and by extra features of type 5 in the artworks.
For the last 2000 years, from about BC 80, the dominant timeframe was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the timeframe of the former Age, when their culture was formed. The transition is always subtle and gradual, but some of the structuralist or visual ‘grammar’ rules of art, building sites, myth and divination sets during the last 90 degrees of precession (about 8000 years) may change in Age Aquarius.
Pablo Amaringo, the first popular ayahuasca stylist
General themes in Pablo Amaringo’s cosmic vision of a spinning dome, or many-coloured cover, or skambha, are indicated by extra features of type 5 Priest, typical of colours, ritual, hyper-activity, tailcoats or sashes (here feathers), assembly (here rituals and crowds), water (here waterfalls and pots), reptile (here serpentine forms), winged (here angels); and of the opposite type 13 Heart, typical of death (here broken pots on the left), rounded (here the dome and pots), water-work (here waterfalls), and angel (here angels and feathered priests). Icelandic cosmology myth used similar icons in epic poetry (De Santillana 1969).
See churns in Indian and other artworks after De Santillana’s book Hamlet’s Mill
See more Pablo Amaringo artworks, in structuralist analyses reports
Pablo Amaringo: Spinning dome (after Grahamhancock.com. Archetypal labels and axial grid by Edmond Furter).
Amaringo is one of the first popular ayahuasca stylists. This work was included in the first 170 published demonstrations of subconscious structure in cultural media (Furter 2014).
Type Label: Character (archetypal features):
1 Builder; Water angel D (twist, bird, spring, rain, cluster).
2 Builder; Water angel C (twist, bird, spring, rain, cluster).
2c Basket; Crowd (cluster) on the cliff at left.
3 Queen; Water angel B as rain (queen?, spring, pool).
3 QueenB; Rain? Dragon?, in the waterfall.
4 King; Water angel A as a cloud.
5a Priest; Ritualist B (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5b Priest; Ritualist C (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5c Basket Tail; Feather B (weave, tail). And the sunburst (disc).
6 Exile; Ritualist D. And angel B on a vine trunk (tree), far out (egress).
7 Child; Water angel E as cloud (bag, unfold).
7g Gal.Centre; Water angel F at waterfall (water).
8 Healer; Hermit? under waterfall (heal, trance).
9 Healer; Waterfall head (bent forward?, heal, trance).
9c Basket Lid; Crowd on plain at vine trunk (pillar, snake) of angel B (leglink).
10 Teacher; Crowd member far right (council, ecology, school).
11 Womb; Crowd woman’s midriff (womb).
12 Heart; Man in green, spinning the dome (rounded). And his chest (heart). And man in blue. And his chest (heart).
13 Heart; Levitator’s chest (heart), over dome (‘invert’). And dome (rounded, interior).
13c Basket Head; Spinning dome (oracle, hat, lid, weave). And ayahuasca pot (tree, oracle). And person D at broken pots (death, of 13).
14 Mixer; Person C, further out (egress).
15 Maker; Person B, with A (doubled).
15g Gal.Gate; Person A.
Axial centre; Wrists clasp (limb joints).
04p Gal.S.Pole; Ritualist A’s jaw (limb joint).
11p Gal.Pole; Crowd woman’s hand? (limb joint).
Cel. Pole or Midsummer; Levitator’s jaw (limb joint). Cel. South Pole or Midwinter; unmarked.
The solstice axle is on the vertical plane, confirming midsummer in 13-14, analogous to Leo-Cancer, thus spring and the cultural timeframe in Age Taurus-Aries. But the top central positions of types 5, analogous to Aquarius, and the general themes of types 5v13, indicate that the time-frame may not express the spring point 90 degrees before midsummer, as usual, but instead the Age Aquarius midsummer point, which is now in Taurus.
This subtle iconographic ‘slippage’ may indicate that the usual Taurean time-frame of works themed on transformation and alchemy, may in future be moved to an Aquarian midsummer time-frame, however more examples should be studied.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Australian infinity serpent expresses healing themes
The main general themes in Nic Warner’s Australian serpent artwork, are types 7g Galactic Centre, 8/9 Healer and 9c Basket Lid. This sector is typical of ropes and unfolding (here an infinity ring); paths and gates (here galactic crossings); bent forward postures, spiritual strength, healing and trance (here rituals); and revelation, weave and snakes. The minimal twelve types are all equally, coherently and simply expressed.
See more Australian art structuralist analyses and read What is Mindprint? The Subconscious Art Code.
See an infinity curve in Zimbabwean rock art in the book Mindprint.
Nic Warner: Australian infinity serpent (after DMT Times. Archetypal labels and axial grid by Edmond Furter).
Collage formats, including luminous abstracts, are typical of trance healing themes in art and rock art.
See more DMT-styled art on www.mindprintart.wordpress.com
Type Label: Character (archetypal features):
2 Builder; Spiral (twist) among entoptics (cluster).
2c Basket; Dotted rows and waves (weave).
3 Queen; Lizard (neck long, dragon).
4 King; Eagle (bird).
5b Priest; Aboriginal ritualist (priest, hyperactive) main character (large).
6 Exile; Kangaroo.
7 Child; Aboriginal covering face (eyeless), in trance (more typical of 8/9).
7g Gal.Centre; Three dancers’ feet (limb joints, ‘path’).
9 Healer; Dancer C (bent forward, heal, trance).
10 Teacher; Dancer B (arms up) in group (council), behind dancer A.
11 Womb; Midriff (womb) of flying lizard.
13 Heart; Chest (heart) of flying (angel) lizard.
14 Mixer; Flying (bird, angel) lizard (reptile).
15 Maker; Vision serpent (reptile) in infinity curve (churn, ‘rope’, rampant, ‘doubled’, ‘winged’), frontal (face), equal eyes (doubled).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Eagle wingtip (limb joint).
11p Gal.Pole; unmarked.
Midsummer; Serpent jaw (limb joint). Midwinter; unmarked. The prominent jaw places midsummer in Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the prominent Aboriginal face expressing type 5, analogous to Aquarius. The transitional Age is contemporary to the work.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular.
See more Surrealist artworks, Peyote, Mescaline and DMT-styled artworks in structuralist analyses
How to identify archetypal structure in artworks
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. Here is a guide to how to identify the subconscious structure, or visual ‘grammar’, in complex artworks containing eleven or more characters.
Axial grid of the sixteen types (1 to 15, but repeating 5, as 5a and 5b), and four half-types (c-types) in artworks. Orientation and radial diameters are random, as in most artworks.
The 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.
Here is the set of Mindprint labels to identify archetypal characters. Axial opposites are given above/below one another:
Characters expressing archetypes always have their eyes (except a womb at 11, and a heart at 12/13), on an axial grid, formed by standard pairs (1v8, 2v9, 3v10, etc). Artworks also express two ‘galactic’ polar points (4p v 11p); 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 (unlabelled to avoid clutter). Polar points are not on eyes, but on limb joints.
The four main types could be doubled, as they are in the axial model (1v8, 2v9; 5a v12, 5b v13); or they could be single (2v9; 5v13). The total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks. The axial grid always confirms the sequence of eyes along the edge.
Structuralist analysis of artworks could be tested and compared in the standardised mindprint format to fill in, with optional features to confirm or delete, as known by May 2019:
,,,,,,[Artist]; ,,,,,,[Artwork] expresses ,,,,,,,
General themes in ,,,,,,,,’s ,,,,,,,,,, artwork, are type/s ,,,,,,,, typical of ,,,,,,,,,,, (here ,,,,,) and ,,,,,,,,,,, (here ,,,,,,,,,,).
[image]
,,,,,, [Artist]; ,,,,,, [Artwork title] (image after ,,,,,,,,. Mindprint labels and axial grid by ,,,,,,,,,,,,,,). The general theme in this work is indicated by extra features of type ,,,, typical of ,,,, and ,,,, and ,,,,.
Type Label; Character (archetypal features): [delete optional features if not expressed]
01/02 Builder; ,,,, (twist, cluster, bovid, bird, tower, build, sack, hero, book, spring, maze, pit, rain).
02c Basket; ,,,, (weave, shoulder hump, instrument, container, hat, weapon, throne, snake, secret, planet, arm-link, leg-link).
03 Queen; ,,,, (neck long/bent, dragon, sacrifice, queen, spring, school, fish, ram, pool).
04 King; ,,,, (squat, king, twins, rectangle, sun, bird, fish, furnace, field).
05a/05b Priest; ,,,, (colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).
05c Basket Tail; ,,,, (weave, tail, container, tree/herb, reveal, maze, disc).
06 Exile; ,,,, (ingress, egress, horned, sacrifice, small, U-shape, double-head, caprid, reptile, tree, disarmed).
07 Child; ,,,, (bag, rope, juvenile, unfold, beheaded, chariot, mace, eyeless).
07g Gal.Centre; ,,,, (limb joint, juncture, path, gate, water).
08/09 Healer; ,,,, (bent forward, strong, pillar, heal, disc, smelt, trance, canid).
09c Basket Lid; ,,,, (disc, hat, lid, instrument, reveal, hump, planet, weave, enforce, pillar, snake, metal, arm-link, leg-link).
10 Teacher; ,,,, (arms up, staff, hunt-master, guard, metal, market, disc, council, snake, ecology, school, carousel, canid).
11 Womb; ,,,, midriff,,,, (womb, wheat, water, law, felid, tomb, interior, library).
12/13 Heart; ,,,, chest,,,, (heart, felid, death, rounded, invert, weapon, war, water-work, angel).
13c Basket Head; ,,,, (oracle, head, hat, lid, weave, tree, tail).
14 Mixer; ,,,, (ingress, egress, time, tree, bird, angel, antelope, felid, reptile, fish, canid, dance).
15 Maker; ,,,, (churn, rope, rampant, order, bag, mace, weapon, doubled, smite, sceptre, face, canid, reptile, winged).
15g Gal.Gate; ,,,, (juncture, limb joint).
Axial centre; Unmarked /on ,,,, (limb joint /juncture).
04p Gal.S.Pole; (limb joint, juncture).
11p Gal.Pole; (limb joint, juncture).
Cp Midsummer; ,,,, (limb joint /juncture).
Csp Midwinter; ,,,, (limb joint /juncture).
Midsummer is on the horizontal /vertical plane /north-south meridian /east-west latitude.
These markers place midsummer in Leo /Cancer /Gemini /Taurus, thus spring and the cultural time-frame in Age Taurus /Aries /Pisces /Aquarius, confirmed by ,,,,,, prominence.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
[Delete generic terms of optional features that are not expressed in your example]
Polar markers usually place midsummer on or near type 12, 13, 14, 15 or 1, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3, Pisces4 or Aquarius 5a. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3, 4 or 5.
See structuralist analyses reports on artworks in related styles, and examples of the absence of Mindprint in photographs, on https://mindprintart.wordpress.com/2016/10/01/mushroom-or-psilocybin-art/
Subtle changes in iconography and spatial ‘grammar’
Some themes in recent New Age art reveal a sense of dread and expectation of immanent change (see Marc Alexander; Prophetic antics, in another post, forthcoming). We could be overcome by the inherent flaws of our hyper-successful species, such as over-exploitation; or we could extend our natural repertoire by transforming water, energy, food and co-operation. Business as usual is not sustainable.
Cultural media allow superficial differences to support competing socio-economic interests via tribal bonding. Our hard-wired compulsion to express the same innate story worldwide, is ironically as strong as our compulsion to rally around the slightest differences. These cultural ironies are also inherent in our eternal obsession with the afterlife and the subconscious. We fear and repress both, yet we seek some assurances and interaction from both. Our rituals, diagnoses, healing, drugs, maturity cycles, myth, drama, art, theology and science, invoke and use both. Ultimately, individual and social maturity cycles have to make peace with mortality and the painful differences between our conscious and subconscious compulsions.
Edmond Furter, author of Mindprint (2014, Lulu.com); Stoneprint (2016, Four Equators Media); and editor of Stoneprint Journal (Lulu.com). Visit www.edmondfurter.wordpress.com and www.stoneprintjournal.blog
Sources and references
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