Over the past few weeks, we have been exploring the use of both geometry and symbolism in art, however there is one field that we haven’t touched on and this is the intersection between geometry and symbolism. This intersection can be seen in the masterpieces of many artists who offer geometry as a symbol of the transcendental, and through concepts such as the golden ratio, the Fibonacci sequence, fractals, symmetry, the rule of thirds, tessellations, perspective, and even modular design. This article will bring together our exploration and focus on the sacred geometry imbued with symbolism in art, uncovering an almost divine dialogue between an artist and the universe around them, a conversation that spans centuries and continues to inspire and mystify artists today.
The Golden Ratio:
Leonardo da Vinci, one of the pioneering figures in the Renaissance era, epitomised the idea of being a polymath with his multifaceted expertise in art, science, engineering and many other disciplines. One concept that da Vinci incorporated in his work, regardless of discipline though, was the golden ratio. This mathematical concept, known for its pleasing aesthetics, is a naturally occurring phenomenon found in the spirals of galaxies and the growth patterns of plants. Da Vinci applied this concept in his works, as not only a way to achieve visual harmony, but also a way to explore the universe’s inherent order and beauty.
Among Da Vinci’s vast body of work, the ‘Vitruvian Man’ stands out as one of the pinnacles of his exploration into the golden ratio and human proportions. This drawing, based on the correlations of ideal human proportions with geometry, as described by ancient Roman architect Vitruvius, illustrates Da Vinci’s quest to find the divine proportions and shapes within the human form. The male figure of the work is within the borders of a circle and a square, with the limbs extended to touch the edges. This symbolised the unification of both earthly and celestial principles within the one form. Overall, the ‘Vitruvian Man’ is not just a work of art but also a philosophical statement that encapsulates Da Vinci’s vision of how the human body is a microcosm within and reflecting the larger macrocosmic order.
The Magic Square:
Creating and producing work during a similar time as Da Vinci, Northern Renaissance master Albrecht Dürer is another who weaved together deep symbolism with unparalleled intricacy in mathematics. Amongst his many prolific works, ‘Melencolia I’ serves as an open window into Dürer’s intellectual and spiritual inquiries. This work has within it layers of symbolic elements, however on the most fascinating features is the magic square. The magic square is a 4x4 numerical grid arranged so that each row, column, diagonal and quadrant sum to the same total, embodying mathematical elegance and harmony.
In ‘Melencolia I’ the magic square serves as a symbol of cosmic order and balance, further reflecting Dürer’s engagement with the mathematical and philosophical ideals of his time. The square is also emblematic of Dürer’s exploration of themes such as the relentless pursuit of knowledge, the divine spark of inspiration, and his own existential struggle, as an artist, to make sense of the complex world around him. Along with the square, the work also features a melancholic figure surrounded by tools of mathematics, geometry and craftsmanship, suggesting a focus on the artistic process and the highs and lows that are often experienced by a craftsman or artist. This figure in partnership with the square suggests the idea that a craftsman is often looking to find and then showcase the underlying symmetry and structure of existence, but due to being human will never be able to fully understand and express these. Hence, the melancholy.
Mystic Revelations:
In the early 20th century, before Kandinsky’s formation of our understanding of abstraction, Swedish artist and mystic Hilma af Klint was producing a body of work that explored the relationship between symbolism and geometry. Her extensive body of work is also rooted heavily in her engagement with spiritualism and mysticism, including theosophy and anthroposophy. For decades, af Klint’s work was hidden away from the public eye by her own request, but her importance in both art history, in general, and in pushing the boundaries of how art can convey the spiritual and the unseen, should not be trivialised.
In her series “Paintings for the Temple” af Klint ambitiously explored universal themes that resonate with the very essence and meaning of human existence. Through bright, bold colours, spirals and geometric forms, this series delves into the dualities of existence, the perpetual cycles of life and death, and the interconnectedness of all living beings. Af Klint seems to fill each work in this series with cosmic energies, embodying a synthesis of scientific curiosity and spiritual insight. Overall, these works assert an artist’s role as not just a creator of aesthetic objects but also as medium through which deeper spiritual truths can and are communicated and explored.
Spiritual Geometry:
Well recognised for his contributions to abstract art, Wassily Kandinsky also brought to attention a philosophical approach to art creation. In his work, Kandinsky was driven by the conviction that the visible world was merely a veil beyond which lay deeper spiritual truths. To him geometric forms were the visual language of expressing this hidden reality and could embody the essence of emotional and spiritual experiences. In his artistic vision, shapes, such as circles, squares and lines, each carry an individual emotional tone and symbolic significance, resonating in different ways with the innermost being of the viewer.
In works such as ‘Composition VIII’, Kandinsky carefully chose and manipulated geometric forms to evoke a profound emotional and intellectual response. This work is filled to the brim with abstract elements filled with symbolism, such as circles representing the cosmic and infinite, squares representing balance and stability, and lines signifying direction and movement. But beyond their individual meanings, these elements interact with each other on the canvas in a way that mirrors the complexities and harmonies of the universe, thus becoming a medium through which the viewer can engage with spiritual realities. Through his abstract works, Kandinsky showcased the transformative power of art and its use by an artist to bridge the earthly and the divine, connecting an individual to the greater cosmos.
Tessellations & Divine Patterns:
M.C. Escher, a Dutch graphic artist renowned for his mathematically inspired woodcuts, lithographs and mezzotints, is another artist that used his work to explore the relationship between art, symbolism and mathematics. Escher’s fascination with tessellations, or the tiling of a surface using one or more geometric shapes with no overlaps and no gaps, has become a hallmark of his work. In manipulating these patterns, Escher not only demonstrated his artistic skill but also his interest in symmetry and infinity, complex mathematical concepts that form part of everyday life. Through these explorations Escher transformed tessellations into more than just repetitive patterns, instead turning them into vehicles for exploring and illustrating complex themes such as the infinite, the paradoxical, and the interplay between the two-dimensional and the three-dimensional, inviting his viewers into mesmerising worlds where the boundaries of space and perspective are blurred.
In works such as ‘Metamorphosis I’ and ‘Day and Night’, Escher utilised tessellations to symbolise his philosophical inquiries into the nature of reality and human perception. These works are not just meant to be aesthetically appealing but to also be intellectually appealing, challenging the viewer’s mind to reconsider the nature of the space that humans inhabit and the ways in which we perceive this space around us. Escher’s art is a testament to his belief that beneath the chaos and complexity of the world, there is an underlying order, accessible through the combined languages of mathematics and art.
The Enduring Dialogue:
The use of sacred geometry and symbolism by these artists and many others is not merely a curiosity. Rather it is a testament to the enduring human desire to find order in chaos and to connect the earthly with the divine. Through their works, these artists invite us into a dialogue that transcends time and place, and asks us to consider our own place in the cosmos, the very nature of beauty and humanity’s eternal quest for meaning. By exploring this mystical dimension of art, we not only enrich our understanding of art but also glimpse into some of the infinite possibilities of human creativity. In the intersection of sacred geometry and symbolism, we find not just beauty but a deeper resonance as well.