“We find in Egypt the pole stars on which gods and goddess sit enthroned. The ceiling of Senmut shows Age of Cancer in the Zodiac ceiling, Cancer and Gemini, predate dynastic Egypt.“
These premises are incorrect, since they are based on generally accepted, but unfounded scientific assumptions. The implications for archaeo astronomy and correspondence theory are significant.
The celestial pole star in the Senmut ceiling is at the hoof of a severed bull foreleg, or ‘poing’ stick skewering some dots, as the Ursa Minor tail, calibrator of recent polar positions.
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The bull leg is speared by Dinwiddie /David or a similar name, as Bootes with his arms raised. His spear is part of the Ursa Major severed bull foreleg (related to the former spring bull, since it calibrated the precession of the celestial pole, and thus of the summer sun, at the time). The two forelegs are conflated in myth and art, though usually separate constellations.
The polar decan behind the bull leg is a nominal Gemini, which is often the rope puller, re-creator, smiter, and ancestor. Gods are not enthroned on the poles, however some polar attributes are transferred to the Taweret group in the lower register, which doubles as the seasonal constellations Cancer (eye of crocodile on Taweret’s back); Leo (Taweret’s heart, see the note on ‘eyes’ or lucida below); Virgo (unseen eye in Taweret’s pregnant womb); Libra (eye of a duplicate Bootes with his arms up); Scorpius (eye of a rampant crocodile); Sagittarius (eye of a young crocodile curled up).
The Senmut ceiling has a constellation and seasonal cycle split into two. On the upper register appears the rest of the ecliptic (zodiac) constellations (not ‘signs’, which the decans partly are, hence their perpetual confusion). Some ambiguity here due to some extreme variants in typology, indicate that the upper register may have been designed for the other side-wall of a barrel vault, and was thus inverted and stands in retro sequence.
However they continue the seasonal sequence; Capricornus (eye of a crane); Aquarius (eye of a turtle); Pisces (eye of a boatman); Aries (eye of a hieroglyph, a weak point in the visual expression); Taurus Perseus (eye of a backwards-looking boatman, identified by seven stars as standing on the Pleiades, and by three stars as adjacent to Orion); Gemini (star on an axe-shape, perhaps Canis Sirius).
Some of the decanal figures, and some hieroglyphs, confirm the identifications.
The axial centre confirms the subconscious spacing (I could not find any reference to any artist or school being aware of the mindprint structure in art).
The polar configuration is not marked by ‘gods’ or archetypal principles, but by structural features, usually limb joints; the galactic pole is on Taweret’s jaw (a frequent polar marker), the galactic south pole is on Pisces’ foot. The moving celestial pole was on Dinwiddie’s rear foot, moved to his front foot, as confirmed by his vertical plane, the other figures’ horizontal plane. The celestial south pole was on his elbow, moved to his front shoulder.
The celestial poles, and thus solstices, here lie in the wide gap between Cancer and Gemini, indicating a broadly Age Aries framework. In subconscious anticipation of moving closer to Age Pisces, and thus to a Gemini pole and summer, the bull foreleg hoof offers a (formerly forthcoming) limb joint marker, opposite Dinwiddie’s hips as a limb joint marker for the celestial south pole.
Art, myth, ritual, and crafts like astrology, all derive from archetype. Culture is sustained and standardised by subconscious expression. I did not design archetype, or this quirky cultural expression of archetypal structure. I merely identify and demonstrate this expression.
My research results had good reception among anthropologists and esotericists (who would not agree to being mentioned in the same sentence). And surprisingly little reaction from artists and psychologists. I hope for more response from archaeo astronomers and correspondence theorists on this site.
Astronomical figures are not primarily zodiac figures, since they are not conventionalised. However their ranges of attributes, their sequence, and their relative positioning are highly standardised, forming a mindprint (Edmond Furter; Mindprint, 2015, lulu.com). Mindprint is not a zodiac, it appears in all cultural media, in all cultures and eras, has never been consciously recognised, and does not evolve.
Some zodiacs or star maps subconsciously express mindprint, while motivated by a mixture of calendric, charting, astronomical, mythical, theological, political, decorative, and other conscious aims.
The decans in the lower register, all with red spheres on their heads, perhaps indicating lunar stations (hours), do not stand for much else, as usual. One of the few decans with blank spheres on their heads, doubles as a second Cancer (its eye is on the same axis as the Cancer crocodile’s eye).
The Senmut types, as in all artworks, confirm one another in five ways;
 by attributes (eg raised arms is typical of type Libra in 53% of artworks, etc, see the statistics in my article);
 and in sequence (eg type Libra is between type Virgo and type Scorpius);
 and in axial spacing (eg type Libra is opposite type Aries);
 and in the exact spacing of their eyes (type Libra’s eye is opposite type Aries’ eye, with two constant, standard exceptions to the ‘lucida’; type Leo is spaced by his heart in 85% or artworks, and type Virgo is spaced by her womb 87% of artworks);
 and in the polar structure, based on limb joints and the horizontal or vertical plane.
I like the Senmut ceiling (which I tested for mindprint in response to Tbird and Audrey’s posts), for clearly demonstrating that traditional astronomical programmes, commissions, and artists, concentrate on consciously political and theological intentions, and on some semi-conscious symbolic conventions.
Yet the same work clearly expresses the universal structure of culture, perception, and nature, using the same predictive and testable criteria as in the book, and in the article. Mindprint analysis of highly detailed cosmological features, reveals how the assumed unique art for or by the talented commoner social climber Senmut, under queen Hatshepshut, and the assumed unique Egyptian culture, repeats the same tupos (seal or imprint) as the art of all cultures and all ages.
Hercules constellation, that Tbird posted, although it is circumpolar, is not directly relevant to this ceiling.
Art demonstrates that the origin of culture is archetypal, not astronomical, astrological, mythical, religious, political, calendric, decorative, incidental, etc. All cultural media play some roles in mutating expressions and styles, but the core content is as hardy as the periodic table of chemistry, of DNA.
Like DNA, even slight changes in some attributes, in sequence, or in spatial positioning of ‘chromosomes or acids’ would be fatal. There are other Egyptian ceiling examples in Mindprint on p175 (Seti 1, and Ramses 6); Egyptian art on pp 204, 205, 210, 215, 217; Egyptian palettes on pp 170, 184; and political murals on p166 etc, Egyptian jewellery on p224, 227.
All complex artworks (containing eleven or more figures, or characters) express the complexities of natural structure in surprisingly minimalistic and ‘innovative’ ways, beyond the conscious capacities of the artists. The same goes for each of the other 200 artworks in the book, and about 543 tested since, from all the known cultures in and before history (see some examples in my article at AoM September 2015, and on edmondfurter.wordpress.com).
And the same goes for a pseudo-Egyptian painting by an amateur South African artist on p189. Artists do not have to be ancient, or Egyptian, or have big and commodified names (many of whom feature in the book), to express archetypal structure in Egyptian style, or in any style. Style is pseudo culture. Art, language, ritual and all of culture, is first, foremost, and in the final analysis, structure, clothed and disguised in conformist fads.
Edited 5 time(s). Last edit at 14-Dec-15 21:53 by Edmond.