Learning from The Vitruvian Man - A THREAD!
This painting is an amateur adaptation of what was originally a pen & ink drawing by Leonardo da Vinci, depicting a man fitting his body into a circle and a square by adjusting the position of his arms and legs,
This painting is an amateur adaptation of what was originally a pen & ink drawing by Leonardo da Vinci, depicting a man fitting his body into a circle and a square by adjusting the position of his arms and legs,
Probably the most famous drawing in the world – judging by the fact that we get to see it in ads and worked into logos for holistic health centers et al.
However, few know of the secrets it contains. Leonardo's original was called The Vitruvian Man.
Leonardo started out by drawing a perfectly proportioned man and then found the circle and square in the figure. The circle and square are only tangent at one place, the base.
Leonardo started out by drawing a perfectly proportioned man and then found the circle and square in the figure. The circle and square are only tangent at one place, the base.
The Vitruvian Man’s image exemplifies the blend of art and science and provides as a perfect example of proportion.
A cornerstone of Leonardo’s attempts to relate man to nature - For if a human form be placed flat on his back, with his hands and feet extended,
and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom.
And just as the human body yields a circular outline, so too a square figure may be found from it.
The workings of the human body is analogous to the workings of the universe. Mystic that he was!
Leonardo probably symbolized the material existence by the square and spiritual existence by the circle.
That metaphysical idea of a spirit and a spirit traveling from one body to another is exemplified by the mathematical concept of infinite.
Infinite can be described as a recursive loop or something that recurs over and over again; continuing indefinitely.
This concept of a spirit and placing a spirit (or anything in the realm of the infinite) into a body (or anything physical and finite) is what is the meaning that can be interpreted from what can be called the "Square off the Circle" ...
Squaring the circle deals with the mathematical concept of fractals. Like what we see in ancient Yantras.
A Yantra from what little I know is a geometric design used as a highly efficient tool for contemplation, concentration and meditation.
A Yantra from what little I know is a geometric design used as a highly efficient tool for contemplation, concentration and meditation.
A Yantra is supposed to provide a focal point into a window into the absolute. And when the mind is concentrated on a single, simple object (say a YANTRA), the mental chatter ceases. Eventually, the object is dropped when the mind can remain empty and silent without help.
The Yantra can be seen like a microcosmic picture of the MACROCOSM. A focal point into an outer and inner gateway. Basic geometric shapes -Circles, Triangles, Squares make up a Yantra.
And it is here that an interesting comparison can be drawn to the Vitruvian Man.
Circle or CHAKRA is a simple geometrical shape used in Yantras to represent rotation, a movement closely linked to the shape of spiral which is fundamental in the Macrocosmic evolution.
At the same time, the circle also could represents perfection and the blissful creative void. Square or BHUPURA is usually the exterior limit of a Yantra and symbolically, it could represent the element earth (Prithvi Tattva).
Every Yantra starts from the center, often marked by a central dot (a Bindu) and ends with the outer square. This represents the sense of universal evolution, starting from the subtle and ending with the coarse, starting from “ether” and ending with “earth”.
As Leonardo puts it "By the ancients, man has been called the universe in miniature; and certainly this name is well bestowed, because, inasmuch as man is composed of earth, water, air and fire, his body resembles that of the earth."
In other words, man is a microcosm of the universe.
Here are some interesting measurements & proportions that can be derived from the Vitruvian Man -
the length of a man’s outspread arms (arm span) is equal to his height., - the length of the hand is one-tenth of a man’s height.,
the length of a man’s outspread arms (arm span) is equal to his height., - the length of the hand is one-tenth of a man’s height.,
... a palm is the width of four fingers - a foot is the width of four palms., - the distance from the hairline to the bottom of the chin is one-tenth of a man’s height., - the distance from the top of the head to the bottom of the chin is one-eighth of a man’s height.,
... the distance from the bottom of the neck to the hairline is one-sixth of a man’s height., - the maximum width of the shoulders is a quarter of a man’s height., - the distance from the middle of the chest to the top of the head is a quarter of a man’s height.,
...the distance from the elbow to the tip of the hand is a quarter of a man’s height., - the distance from the bottom of the chin to the nose is one-third of the length of the head., -the distance from the hairline to the eyebrows is one-third of the length of the face.,
... the length of the ear is one-third of the length of the face., - the length of a man’s foot is one-sixth of his height. These are a few.
The secrets contained in Leonardo's creation in itself is a greater mystical revelation than any system of symbols.
He was centuries ahead of his time at demonstrating that technology for technology's sake will simply occupy time rather than unleash the best of humanity.
Well, this sketch that was featured at the beginning of this thread, was my shoddy attempt at learning a thing or two from Leonardo, because, learning never exhausts the mind !
Revisiting this thread after 16 months of learning., because that is probably the bare minimum amount of time it takes to get under the skin of the legend 😀
AND this nested SUB-THREAD is about my journey from The Vitruvian Man to a subjective version of Mona Lisa & in doing so, exploring visual harmony in terms of an invisible math that plagued the mind of Leonardo.
Art is an often misunderstood learning process because it is frequently tasked with operating at a subtle subconscious level.
In our world of today, the word ‘focus’ is seen as a cardinal virtue. But, Leonardo makes the strong case for the unfocused. His lack of focus, his wandering mind was the primal source of his elemental brilliance.
Notoriously inefficient, missing deadlines for commissioned pieces, with most of his work left unfinished almost always, Leonardo was found delving down holes that were unrelated to his work, the only force dragging him along was probably his insatiable curiosity.
It was probably these shortcomings & failures that made Leonardo the archetypal Renaissance Genius.
He held on to Mona Lisa till he finally reasoned that it was ready for the world. He kept working on her for most of his life, periodically applying techniques & overlays as he saw fit.
Understanding Leonardo’s brand of thinking requires finding linkages between disparate topics — using observations in one area to inform creations in another.
Complex psychological portraits of inscrutable faces requires investigations into human facial anatomy and especially that of the smile.
And that needs a wandering mind, pulled by varying curiosities that works to inform art. For example, the lips. Is she smiling, or frowning? Is she mad, sad or pensive? It gets difficult to tell.
The primary objective of an artist is to make a flat surface display a body as if modelled and separated from the plane, achieved by a play of light and shade - Shadows become important in perspective, to give definition to opaque & solid objects.
Subjects get portrayed more accurately in 3 dimensions through ‘blurred lines’ and heavy use of shadows — the magic of Leonardo’s trademark technique that came to be known as ‘sfumato’.
A ‘Leonardo thinking’ requires developing an ‘acuity perspective’, imagining objects appearing less distinct the further away they are by diminishing the sharpness of those objects in proportion to their increasing distance from the eye of the observer.
The most important learning for me has been that Leonardo was never content with one-thing, when his soul called out for everything. And in his attempt to demand it all from life, he also had to offer it his all.
Leonardo believed that the way you do one thing is the way you do anything. I doubt if his masterpiece was the Mona Lisa., his masterpiece was his own life.
This sub-thread is an attempt to journal the journey., a dissectional study of Mona Lisa using my own muse conjured from my store of memories & learning the math behind the creative process & in doing so figuring out the mystique found not just in art but everywhere.
The muse, dwells in a realm outside the artist’s field of ordinary existence, though a paradox — for if the artist were conscious of the muse, that will counter-intuitively, try as the artist may not want to, cage the muse in the dark portals of the artist’s universe.
A quick introduction: The Golden Ratio is a simple, symmetrical mathematical relationship built from consistently asymmetrical parts. For the algebra-inclined (apologies), that relationship is X : Y = Y : (X + Y).
The Golden Ratio is intended to be invisible, a compositional organizing principle that is felt rather than understood. Extrapolated radially, this relationship creates a never-ending spiral, getting closer but never achieving the Golden Ratio, also referred to as ϕ (Phi).
The mystique of the Golden Ratio is that this proportion and related numerical sequence is found frequently in nature, from growth patterns of plants and shells, bone structure, It’s omnipresent.
The Golden Ratio or the Greek letter 'ϕ' is believed to be present in all things that are aesthetically pleasing to the eye — including artwork, living beings and things in nature.
The same proportions of Mona Lisa used to achieve balance and beauty..
The same proportions of Mona Lisa used to achieve balance and beauty..
This Golden Ratio is more than just an obscure term found in mathematics and physics. It appears around us in our daily lives, appearing in all forms of nature and science.
In Flowers - petals follow this pattern - each petal is naturally placed in a Phi sequence to allow for the best possible exposure to sunlight. And, seeds of a Sunflower start at the center and migrate outward to fill the space, following this same pattern.
The spiral pattern of the pinecone's seed pods spiral upward in opposite directions match this pattern. Many shells, including snail shells and nautilus shells, are perfect examples of the Golden spiral.
There is a mystical connection between the Mona Lisa Muse and the DNA of anything found in the corporeal world 😀
In the words of Da Vinci "Ogni nostra cognitione prīcipia da sentimēti." - All of knowledge has its origin in our perceptions !
In the words of Da Vinci "Ogni nostra cognitione prīcipia da sentimēti." - All of knowledge has its origin in our perceptions !
The Golden Ratio is a lusty mathematical constant woven into the very fabric of space time. It is the unique visual tension between comforting symmetry & compelling asymmetry, and brings out beauty, harmony and intrigue to all of what is manifest.
That Golden Ratio is all around — even when not noticed at all. And the muse 😇 — the gatekeeper to a realm of creative chaos, intuitively navigating the spirit of the artist with outpourings & lessons from a varied store of memories.
The mere acceptance of the existence of a "Da Vincian" spirit within, opens up a universe of possibility in constant expansion —
— lines guided by pure intuition, with imagination as the fuel, creating a world that is directly interconnected to everything and everyone else around and within — the state of transcendence - from playing a note to being a symphony.
No wonder that in his final days, Leonardo apologized to “God and man for leaving so much undone.”
This thread will be incomplete if I don’t recount my learning during the making of a burlesque version of The Last Supper.
<< Leaving this here as a marker., a reminder for me to “finish the last supper” soon >>
<< Leaving this here as a marker., a reminder for me to “finish the last supper” soon >>
This tweet was in more ways than one a wake up call on why it’s best for this weird thread to be completed sooner than later - thank you @TheAncientSage
& this ‘productivity hack’ was in someways a trigger to get rid of ‘meetings’ - in doing so found the time to tie up loose ends of threads that were left incomplete due to numerous avoidable worldly distractions - Thanks @naval for this gemstone -
Get under the skin of things & watch how all of it flows, gradually growing a new skin, with a reliable blueprint about an uncharted realm, a perspective that once appeared to be beyond reach.
Now for the last part of this awkwardly nested SUB-THREAD on Leonardo with a parodical version of “The Last Supper”
(If you would like to start from the thread on Mona Lisa - go here!
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(If you would like to start from the thread on Mona Lisa - go here!
)
The study of the most iconic painting of Leonardo is rendered on canvas in an imaginary universe, a parody — composed of an imagery of fictitious characters whose (un)intentional resemblance to actual persons, politicians, living or dead is purely coincidental.
It gets difficult beyond a point to thread together a continuous yarn about knowing Leonardo through a standard linear model of narration, (apologies for that., but I tried 😌)
One-point perspective was a then-relatively-new-technique Leonardo used to visually break the space to display the explosive revelation on an emotional level — the crescendo highlighted by theatrical hand gestures of the disciples & especially that of the traitor.
One learning from The Last Supper —color is merely used to infuse spirit and energy into space, shapes and representations of humans elements are merely brought in to the painting to inject a sense of life into something inanimate.
It is a magical experience to be empowered with a brush, to embellish a blank canvas with images and to be able to resurrect a still space into life.
Leonardo pioneered the use of sfumato & chiaroscuro techniques through his works. The Last Supper composition remains an inspiration to artists even today and is still far from forgotten.
The extensive use of chiaroscuro and sfumato dither the lighting in The Last Supper.
These effects work together to heighten the overall drama that is the Last Supper.
These effects work together to heighten the overall drama that is the Last Supper.
Space or the lack of space is brought to focus extensively. There is a lack of space on the table of the apostles. This lack of space kinda conveys an overall theme of chaos & overlap., much like the times under which I made this pastiche version.
The confidence any artist develops in his craft is not a measure of the quality of skill/talent but of the coherence of the imagination that the mind manages to construct.
Leonardo captures from eternity, a moment of serenity encapsulated in chaos as many conflicting actions and symbolisms combine to create extensive drama into the Last Supper.
The Last Supper, a crucible event of Jesus the night before he died. And in learning from it, something like a caterpillar died inside of me, only to resurrect, bathed In the light of a new found awareness - a butterfly..
Symbolism is a critical part of any work of art to enhance the thrill factor & the overall visual experience. The energy that flows through The Last Supper is one of riveting chaos and a drama that centers around a holy figure.,
Not to be confused with the burlesque version I used for this study, composed of imaginary characters.
From da Vinci’s notebooks, where he had made initial sketches for the Last Supper, it’s evident that he incorporated the Pythagorean musical ratios (12:6:4:3) into an architectural layout.
The entire plane divided into a grid of 12 units in width; 6 in height. 4 tapestries hung on the opposite walls, 3 windows in the middle. The depth of the tapestries further meticulously follow the ratios of 1: 1/2: 1/3: 1:4 (12:6:4:3). (Sorry for bringing in math into this)
Musical ratios, visual harmonies — Φ are only tools to inform many aspects of the contemporary — underlying grid, composition, hierarchy, rhythm of form to counter-form, etc. @DPrasanthNair —
Overlays get used to obscure the underlying connecting continuum — of course, these are things an artist tries to mask, never expecting any reasonable observer to notice at all.
The Φ/Golden Ratio is intended to be invisible, a compositional organizing principle that is best felt rather than understood.
Ratios, harmonies all spiral to & from where it all began
To use an analog: If one is appreciating the frame of the painting instead of the painting it contains, then the craftsman of the frame has essentially failed at fulfilling its true purpose.
This does not mean the myriad interpretations of the frame as design object are without merit — It is the mandate of the craftsman of the frame to establish beauty and harmony where before there was only function, even when it goes mostly unnoticed.
Learning to see The Last Supper afresh, unencumbered by reductionism and the cliché of images interpreted on the retinal mosaic
The Last Supper is incessant, not only because of its ubiquity as a cultural icon, but because of the unceasing paradoxes emanating from its central theme.
Here is the "'messenger of God" who turns betrayal into redemption, whose nod of resignation before God's will, far from being a sign of weakness, telling an all-too-human story of faith and betrayal.
I think it would have been best to look at the Last Supper, as contemporary viewers would have seen it five-hundred years ago, as a great object of devotion for the faithful.
Leonardo’s one-point linear perspective ends with the vanishing point is at head of Christ., the table as a barrier to separate the spiritual realm from the viewer’s earthly world, elevating realism to the point where it touches mystery.
Leonardo did not illustrate the moment when Judas was identified as a traitor, as was traditional. Instead he represented the preceding moment when Christ first declared the shocking words, “Verily I say unto you that one of you will betray me.”
Leonardo's Last Supper captures a scene of self-giving. It is about sacrifice that brings together the so called opposites.
Often confused with the doctrine of propitiation - Christ's death imagined to be a (re)payment to God for the sins of the world. Rather, the symbolism points to the nature of self-giving - "letting go" to be one with the whole.
"The true celebration of The Last Supper must be with our ego. Whether as individuals or an entire species, we must choose to abandon ourselves to the infinite." So said Carl Jung.
The phrase "Letting go” only means abandoning personal attachment to outcomes. Letting go is about creating a vastly larger space to allow for the Infinite Potential of the Universe to create magnificent outcomes that far transcend human perceptions.
The idea of letting go is to be able to become an observer, instead of being a participant.
The concept of 'Shiva' also stands for something similar - in “letting go” of everything in the world of forms, experiencing the eternal that is neither body nor soul, neither light nor the all encompassing darkness.
There is a Sanskrit term that comes close to describing this theme of The Last Supper at "letting go" - a word called Vairagya / वैराग्य
"Vai” means beyond. "Raga" means Color. The word means beyond color. Being transparent. being unprejudiced. Oneness is transparent, unprejudiced. Wherever you are, you become a part of that - yet nothing sticks to you permanently.
Oneness is 'expansive'. It will be born within us and among us only if we are willing to die to our separateness.
Leonardo’s one-point perspective as a metaphorical construct also conveys that science, art & reason lead toward a one point perspective to that portal overlooking the dark.
Keep that door slightly ajar for the unknown, That’s from where most things profound come from, a place from where you came in, and where you will go.
And with that the river of art intersects with the meander of whatever flows within - a story about the great artist Leonardo da Vinci illustrating how bitterness can hinder the Holy Spirit from working in our lives.
“Every part is disposed to unite with the whole, that it may thereby escape from its own incompleteness.” -from the Notebooks of Leonardo da Vinci
Milan, c.1495–1496
Milan, c.1495–1496
Learning Leonardo provided an opportunity to experience the world from his point of a higher dimension.
The inexplicable wizardry present in both his art and his science can be pondered only by stepping back and asking: Did he really have mental faculties that differed merely in degree, or did he experience a form of cognition qualitatively different from the rest of us?
Our opinions of the world get formed much the way an artist constructs his piece — governed less by a clear view of the theme informed largely by our own interpretation on why things appear the way they do.
We all live on the same planet, but think and feel in different worlds.
For the art dummies - the terms chiaroscuro & sfumato used in this thread refer to techniques Leonardo used to add excessive heighten the drama played out on the painting.
The sfumato technique loosely translates to smokey. A technique to render over forms in a subtly soft way, creating a misty effect across the surface.
Sfumato has the effect of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms that distance the viewer from the subject.
Sfumato Example from the Mona Lisa sub-thread
Sfumato Example from the Mona Lisa sub-thread
And Chiaroscuro is a technique used to achieve on a painting a gradual transition from light to dark.
In Chiaroscuro, forms get determined not using sharp outlines, but in the gradual meeting of lighter & darker areas.
In Chiaroscuro, forms get determined not using sharp outlines, but in the gradual meeting of lighter & darker areas.
