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sacred shapes / geometry

sacred geometry is the awareness and application of numerical constants to form and exploration of resonance within consciousness. \r\nthe planets are in some senses an exploration of sacred geometry, as are our bodies.. living formations of our will into shapes and expressions. within the 'everyday' patterns we may have become numbed to are numbers that reveal the essential beauty and strength of the essence of us and of creation.\r\nthe knowledge of the constants that have become known as sacred geometries has been encoded into the many large structures that cover the surface of earth, from the many pyramids, earth structures (mounds) through to the many stone cities, temples and beyond; they mostly, if not all, share a mathematical mapping and express constants and principles which are now being more and more widely comprehended.\r\nwhat can we learn from this? whatever we intend to, choose to and allow to be real. the scope is infinite.
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Hexagonal Grids in Art History

    ura soul

    Hexagonal grids used in paintings. Drawing the grid with a compass, the first two points determine the entire grid. Heraclitus: The hidden harmony is better than the obvious. The Painter's Secret Geometry: In the Middle Ages the 'geometry' of a work of art, whether picture, bas-relief or page of manuscript, consisted chiefly in the use of the regular polygons as an armature, as an interior framework, figures that were sometimes quite complicated, with five, six, or eight sides, not forgetting the double figures formed by the star pentagons and hexagons. P 95: Many painters have used geometrical diagrams: in the work of some of them the result has been a monotonous symmetry, but others have striven to hide the guiding points under an appearance of anecdotal spontaneity. Salvador Dali, Fifty Secrets of Magic Craftsmanship: I tell you here, young painter, yes, yes, yes, and Yes! you must, especially during your adolescence, make use of the geometric science of guiding lines of symmetry to compose your pictures. I know that painters of more or less romantic tendency claim that these mathematical scaffoldings kill an artist's inspiration, giving him too much to think and reflect upon. Do not hesitate at that moment to answer them that on the contrary it is in order not to have to think and reflect upon them that you make use of the properties, unique and of a natural magic, derived from the wise use of the golden section, and called the divina proporzione by Luca Pacioli in his memorable book, the most important of all aesthetic treatises... ...As I do not wish you to spend days and killing hours which you might devote to painting at your mathematical calculations, I shall now reveal to you the secret of the compass - and this is Secret Number 47 - by means of which you will be able automatically to find as many golden sections as you wish, without having recourse to the painful geometric operation for which you often need an immense compass, requiring that you go beyond the area of your painting, and this is often so inconvenient that your laziness will counsel you at last to get along without such a proportion.... ... And the fact that such compasses are not currently for sale at paint dealers is but the proof of the lack of geometric rigor of schools of art, and of modern painters in particular. Albrecht Durer: Considering, however, that this is the true foundation for all painting, I have proposed myself to propound the elements for the use of all eager students of Art, and to instruct them how they may employ a system of Measurement with Rule and Compass, and thereby learn to recognize the real Truth, seeing it before their eyes. Charles Blanc, quoting Ingres in Ingres, sa vie et ses ouvrages Paris 1870: "I began from the background, with the architecture. Once the lines were marked out, I called all my figures, one by one, and they came obediently to take their places in the perspective..."