I believe that numbers are the basis for harmony in architecture and art. Since ancient times, architects and artists used the golden section or The proportions of the pyramid of Cheops, temples, bas-reliefs, household items and ornaments from Tutankhamen’s tomb indicate that the Egyptian masters used the golden ratio in their creation.
According to Le Corbusier, in the relief from the temple of Pharaoh Seti I in Abydos and in the relief depicting Pharaoh Ramses, the proportions of the figures correspond to the golden ratio. The proportions of the ancient Greek temple of the Parthenon also have golden proportions. The compasses from the ancient Roman city of Pompeii (the museum in Naples) also contain the proportions of the gold division, etc.
Image result for golden section in art
Most often we call it the Golden Section, Golden Ratio, or Golden Mean, but it’s also occasionally referred to as the Golden Number, Divine Proportion, Golden Proportion, Fibonacci Number, and Phi. You’ll usually find the golden ratio depicted as a single large rectangle formed by a square and another rectangle.
Leonardo da Vinci’s illustrations of polyhedra in De divina proportione (On the Divine Proportion) and his views that some bodily proportions exhibit the golden ratio have led some scholars to speculate that he incorporated the golden ratio in his paintings.But the suggestion that his Mona Lisa, for example, employs golden ratio proportions, is not supported by anything in Leonardo’s own writings. Similarly, although the Vitruvian Man is often shown in connection with the golden ratio, the proportions of the figure do not actually match it, and the text only mentions whole number ratios.
The 16th-century philosopher Heinrich Agrippa drew a man over a pentagram inside a circle, implying a relationship to the golden ratio.
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