SCIENTIFIC AND EDUCATIONAL SOCIETY FOR CULTURAL STUDIES
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Hypotheses:

ANTHROPOLOGY OF CULTURE

A. Ya. Flier. Culture of a cultured person



Discussions:

IN SEARCH OF THE MEANING OF HISTORY AND CULTURE (A. Ya. Flier’s Section)

N. A. Khrenov. Revolution and culture: desacralization of revolution in Russian cinema at the turn of XX-XXI centuries (ending)

N. A. Khrenov. Desacralization of the Russian revolution of 1917 as a problem of today: Gorky's novel "the Life of Klim Samgin" in this perspective (ending)

 

Analytics:

HIGH ART IN A CULTURE OF MODERNITY (E. N. Shapinskaya’s Section)

E. N. Shapinskaya. Relations between culture and society in theoretical reflection: from the history of cultural thought

E. N. Shapinskaya. The existential Other: reflections and representations

CULTURAL REFLECTIONS

N. A. Khrenov. Culture and play: activation of the gaming instinct in the era of transition from the middle ages to Imperial Russia (continued)

A. N. Kovalev. Divine proportion in search of the Renaissance (ending)

V. G. Vlasov, N. Yu. Lukina. New stanzas. Philologist and art critic discussion: symptoms of genius

REPUBLICATION

A. Ya. Flier. The birth of the temple: the experience of human self-determination in time (ending)

 

Information:

REVIEWS, MESSAGES, MATERIALS

A. P. Markov. Postmodern civilization: symptoms of spiritual crisis. Some results of the XIX international Likhachev readings


Announcement of the next issue

 

 

Kovalev Andrey,
independent researcher;
kovandr1803@gmail.com

DIVINE PROPORTION IN SEARCH OF A RENAISSANCE
PART II. ARCHITECTURE AND PAINTING

Abstract. Analyzed graphic source in 1533, clearly saying that in the XVI century in the architecture of Gothic temples, if not used, then looking for the divine proportion. It is hypothesized, supported by examples, that in the Late Medieval in the architecture of triangulation used isosceles triangle with an angle of 36 degrees at the top as an additional to equilateral. It is shown that Leonardo da Vinci used the angle of 36 degrees rather than the divine proportion in his works. The synthesis of hermetic teachings and the search for The Renaissance in Michelangelo's fresco "the Creation of Adam", where the artist used the divine proportion, is considered.

Keyword. Golden section, Renaissance, triangulation, Gothic architecture, da Vinci painting, Vitruvian man, "Creation of Adam" by Michelangelo.
 

[1] Shchetnikov A. I. Luca Pacioli and his treatise "on the divine proportion", Appendix to the reprint edition of 1509 Math. mod., 2007, issue 1 (41). P. 36.
[2] Pacioli Luca. The divine proportion. Reprint ed. 1509. With the application of translation A. I. Schetnikova. Moscow: Russian avant-garde Foundation, 2007.
[3] Shchetnikov and I. Decree. Op.
[4] Voloshinov A. V. Mathematics and art. M.: Education, 2000. P. 238.
[5] Apian Petrus. Instrument Buch, Ingolstadt, 1533. Claim 3. URL: http://www.fq.math.ca/Scanned/34-4/letter2.pdf.
[6] Kovalev A. N. Gnostic studies, 2017.  URL: http://kovalevandrey.ihostfull.com/Books/Book_3.html.
[7] Starnden D. Hermeticism. Its origin and basic teachings (the secret philosophy of the Egyptians). - Yeah.: Publishing House. Voronet, 1914. URL: http://psylib.org.ua/books/stran01/index.htm
[8] b Fishermen.And. Architectural mathematics of ancient architects // the Soviet archeology. 1957.  No. 1. P. 83-112.
[9] Shevelev I. Sh. The Principle of proportion. M.: Stroyizdat, 1986. 200 p.
[10] Chernov A. Chronicles of primordial time.  SPb.: Vita Nova, 2006. 480 p.
[11] Shchetnikov A. I. Decree. Op. 38.
[12] Vitruvius Pollio Marcus. Ten books about architecture. M.: editorial URSS, 2003.
[13] Durer A. Diaries, letters, treatises, L.-Yes.: Art, 1957. Vol. 2. 254 p.
[14] Casing A. Neue Lehre von den Proportionen de menschlichen Körpers. Leipzig: Rudolph Weigel, 1854. URL: http://books.google.am/books?id=k8g6AAAAcAAJ&pg=PA282&redir_esc=y#v=onepage&q&f=false
[15] Voloshinov A. V. Decree. Cit. P. 238; Chernov I. Decree. Op.; Kovalev F. V. Golden section in painting / F. V. Kovalev. Kiev, "Vyshcha SHKOLA", 1989. P. 147.
[16] Arundel MS 263, f. 11r. URL: http://www.bl.uk/manuscripts/Viewer.aspx?ref=arundel_ms_263_f001r
[17] Voloshinov A. Decree. Op.
[18] Arundel MS 263, f. 219r. URL: http://www.bl.uk/manuscripts/Viewer.aspx?ref=arundel_ms_263_f001r
[19] Voloshinov A. Decree. Op. S. 239.
[20] On the basis of the available approximate drawings of the chapel, it is impossible to draw an unambiguous conclusion about the height / base ratio of the isosceles triangle used (3/2 or 37/24). Using the latter option would clearly indicate the choice of angle at the apex of 360.
[21] Pacioli Luca. Op. shirker.
[22] In this fragment, the vertical middle line is built in the center of the table, which is located slightly to the right of the center of the painting (wall).
[23] Meshberger, Frank Lynn. Michelangelo's interpretation of Adam's creation based on neuroanatomy / JAMA. October 10, 1990. Vol. 264 (14), P. 1837-1841.
[24] Hertz-Fischler R., quarterly Fibonacci, letter to the editor, V. 24, No. 4, 1986. P. 382. URL: http://www.fq.math.ca/Scanned/34-4/letter2.pdf

 

 

ISSN 2311-3723

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