January 6, 2013

Four New Drawings, with a Couple of Words on Sacred Geometry


 #5, 2012, egg tempera and graphite on hand-toned paper, 15 x 15 in.


When I began this series of drawings based on six circles around one that I found in a book on Islamic design, I wrote in this blog post that they seemed to be a spiritual exploration, which was totally unexpected for me. I became very curious about this feeling, so when a friend, the blogger and artist Deborah Barlow suggested that I read some Sacred Geometry, I ordered a couple of books on the subject, including Sacred Geometry: Philosophy and Practice by Robert Lawlor. I've been poking away at it, and find the subject fascinating, from very basic concepts––the Circle, which is Unity, as The Heavens, the Square as Earth, and the Triangle in its three part nature which is Heaven, Earth, and Human––to more complex ideas about the nature of reality.  Lawlor writes that:
The practice of geometry was an approach to the way in which the universe is ordered and sustained. Geometric diagrams can be contemplated as still moments revealing a continuous, timeless, universal action generally hidden from our sensory perception. Thus a seemingly common mathematical activity can become a discipline for intellectual and spiritual insight.  
By seeking the invariable relationships by which forms are governed and interconnectedwe bring ourselves into resonance with universal order. 
I've even begun to understand Plato's ideal forms, the concept of which I've long resisted.


#6, 2012, egg tempera and graphite on hand-toned paper, 15 x 15 in. 


I think that some of the uncanny feeling that I have while working on these drawings, that they are something almost beyond me, comes from their basis in the overlapping circles of six around one, the six days of creation and one of rest; any shape I find within these circles seems to have an emotional weight greater than a simple pattern. (it's also possible I'm just being silly). At any rate...this downward facing triangle has been used to represent female energy. 


#6 detail


When I began the drawing, I didn't have the intention of making the green a transparent color, but as I worked, it made sense to be able to faintly see the completion of the circles under the triangle.


#7, egg tempera and graphite on hand-toned paper, 15 x 15 in.


In #7, the translucent central circle is surrounded by opaque blue shapes in the four corners; there is an illusion of depth, of lightness and of weight.


#8, egg tempera and graphite on hand-toned paper, 15 x 15 in.


There are also smaller shapes created by the overlapping circles, thin pointed ovals that look like the petals of flowers when seen at the circles's centers. I picked out three horizontals and crossing diagonals to make this image of not-quite three primary colors––blue, yellow, orange––on blue. I continue to be amazed at the range of shapes and compositions that can be found within the same pattern of circles.


15 comments:

  1. Wonderful! As a longtime student of hands-on geometry, geometry in nature, pattern formation, and all the related mysteries, I can only cheer this on -- and offer some of my library. I notice that Issam el-Said's book Islamic Art and Architecture: The System of Geometric Design has gone out of print and is super expensive. It's the best for learning to lay out the various grids.

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    1. Thanks, Susan. I'd seen that book during my Amazon search. But I think my basic designs will provide me with many many images, and the book I have has given me some further ideas, which maybe I'll get to in a few years....(there's so much!)

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  2. These are amazing. You might like a book on Gothic Cathedrals. If I can find my copy I will let you know who the author is. He writes extensively about the sacred meaning of geometry and how it was applied to the construction of the Gothic Cathedrals.

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    1. Thank you, Leslie. The book I have includes some illustrations of cathedral details, and a diagram of the Gothic Cathedral at Amiens, showing its symbolization of Cosmic Man; also, Man and the Cross as a basis for the floor plan.

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  3. I admire your patience with these explorations and once again appreciate your willingness to share it with us. I imagine that working on these pieces brings you to a wonderfully meditative state.

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  4. I love what you are doing with these. I, too, appreciate your generosity in sharing both inspiration and process.
    Its a rare thing.

    Joan

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  5. Altoon,

    This is really exciting to see someone else exploring this subject matter of sacred geometry. I had a whole semester at school exploring the very same thing doing paintings and drawings that look very similar to yours! I certainly relate to your thoughts and feeling surrounding this imagery. I particularly have a great passion for Celtic Knots and went on to explore history the science and of knots, which is actually the name of wonderful book, "The Science of Knots". The connection with algorithms is fascinating. I love this work of yours!

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    1. Catherine-- Thanks for mentioning the Science of Knots, I'm going to look it up.

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  6. Altoon here is the link to some of my paintings I did involving sacred
    geometry.
    http://catherinemeyersartist.blogspot.ca/2010/12/more-from-mount-alison-fine-art-studio.html

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    1. VEry interesting stuff, Catherine. Thanks for the link, and I love the idea of a science of knots.

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  7. Thanks so much, Tamar, Joan, and Catherine for the nice comments. I enjoy sharing my process because it helps me to clarify my thinking, and then I get all this nice feedback.

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  8. I love these pieces you've made, and also enjoy reading your thoughts about them. Thank you, Altoon.

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  9. Although the shapes in these paintings are very satisfying, it is the color that moves me and seems almost other worldly.

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  10. Thank you, Ravenna and Nancy.
    It's interesting how this medium has encouraged me to play with color.

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