Jurate Macnoriute SYMMETRY IN THE QUARTERS OF PICTURE

Jurate Macnoriute

SYMMETRY IN THE QUARTERS OF PICTURE. CONSTRUCTION OF A NEW MODEL IN ART

In accordance with H.Weyl, symmetry is something what has a good ratio of proportions and balance. Symmetry means rest and immobility, asymmetry mobility and freedom. If God and Christ are shown as symbols of eternal truth and rightness, the front of the head is drawn, but never profile. If in nature everything were regularly, full symmetry would be in every phenomenon. But in reality accidental is essential characteristic of the world. (Weyl G., Symmetry, 1968). If categories, concepts and kinds of symmetry have exact scientific basis, asymmetry has no such.

Kinds of symmetry

There are three kinds of symmetry: reflection, transmission and rotation.

Reflection or mirror symmetry In art this kind is met most often. A mirror exactly restores visible view, but it turns over spatial order. What was at the right side appears at the left. Both parts are reflection one of another. The plane which separates them is called the plane of mirror reflection. (Patterns of Symmetry. Edited by M.Senechal and G.Fleck, 1980, p. 15). R.Arnheim affirms that vertical axis prevails in space, and this is a reason why symmetry is easier readable when object is in vertical position. (Arnheim R., Dynamic of Architectural Forms, 1984, p.29) Though we can contradict that horizontal axis is natural too – objects and their reflections in water.

Object can be or exactly mirror symmetrical, or inexactly symmetrical, or asymmetrical. Exact symmetry is met in ornament. In painting only inexact symmetry is met. Madonnas of Duccio, A.Mantegna’s Crucifixion, Leonardo da Vinci's Last Supper, etc. For instance, at first sight Giotto’s (?) Madonna of all Saints seems symmetrical, as if we do not consider baby's location at the right side and turned Virgin's head. But after more attentive inspection of the same groups of saints and angels we can notice many differences – even lighting from one side transforms figures not symmetrically. Only front or dispersed lighting can form condition for exact symmetry. According to V.Ganzen, P.Kudin and B.Lomov differences of similar elements causes long preservation of spectator's attention (Ganzen V., About Harmony in Composition, In Technical Aesthetics, 1969, p. 2).

Mirror symmetry of composition we can also compare with symmetry of directional stars

(see http://www.geocities.com/jumac111/prop3en.html). As we see directional star of Pheidias which is most symmetrical from all researched is not full symmetric too.
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Fig. 1

Mirror symmetry also is liked by artists of our days. For instance, in works of art of Lithuanian painter Jonas Švazas a lot of examples of mirror symmetry are met.

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Transmission After two operations of mirror symmetry we will get the image identical to primary. Such transformation when a copy of image is only moved in space is called transmission. Transmission especially was liked by Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis. In his Sonata of Spring (Fig.1). Allegro (1907) motive of two trees are reiterated even eighteen times. One tree high and narrow. Side by side other lower and leafy. Some of them shown in the wind, some ones in rest.
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Fig. 2

In Sonata of Spring. Andante fourteen windmills rotate their vanes in sky and on the ground.
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One of cases of transmission is fractals. I can to say that principle of fractals is noticed in painting. Thus Fig.1 shows that three main dark spots are recognized in motives of trees. In twos grouped trees form lines and they can be grouped in threes with this same success. At last my structural proportional grids also are fractals. (see http://www.geocities.com/jumac111/prop1en.html).

Rotation When an object is rotated at a concrete angle around some imaginary axis we get symmetry of rotation. A lot of examples of rotation symmetry we can find in the grouping of Michelangelo’s figures. It is known that Michelangelo taught Mark from Siena that the basis of composition must be a figure pyramidal, like snake and it must stand in one, two or three positions. In Michelangelo’s opinion this rule hides entire secret of art. In accordance with Michelangelo, motion is a spirit of picture, and most beautiful motion renders form of flame, cone or spearhead. Composition having such form is most beautiful. Thus in the group of Michelangelo’s Last Court (Fig.2) at the left from Christ the middle man steps with his left leg, the right leg is bent, the left arm also bent, the right arm is held too. Another man at the right of the middle one is also with thrown back right leg and also with bent right arm. The left man again with bent right arm. It needs to notice that Michelangelo does not strictly observe figures’ reiteration. Right leg of the left man is in front, when ones of other two men thrown back. Also in that way the form of letter S gets importance, it has symmetry of rotation and forms configuration embodied moving. In such way principles of dances are transferred into fine arts.

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Symmetry in the quarters of picture Many years ago I noticed a case of symmetry in the quarters of picture which relates principles of symmetry with the whole of picture. In many of paintings symmetry in the quarters of picture is distinct -- symmetrical elements locate no freely, but almost in the same places only in another quarter.
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Fig.3 ............. Fig.4 ............... Fig.5 .............. Fig.6.
Lines can be different, they location too, but structure of quarter remains similar. In that way understandable symmetry (Fig.3) is found in Landscape of J. van Ruisdael – at the left white stream of foaming water, large rock and fallen down tree, at the right white stream of foaming water, rocs and fallen down tree too.

Fig. 7

Transmission in the quarters of picture (Fig.4) is noticeable in V.Serov’s October (Fig.7). Domotkanovo. Horses near the right upper corner of the left lower quarter correspond to the figure of boy. The dark horse near the lower left corner of the upper right quarter corresponds to the group in the same place only in the right upper quarter.
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Fig. 8

Rotation around geometric center of picture (Fig.5) is seen in Rembrand’s Young Woman Fitting Earring (Fig.8). Four configurations of this same light spot rotate themselves around geometric centre: the face and upper part of left shoulder; lifted right hand and fingers of the left hand; the bare left forearm and two spots of white kerchief; the left shoulder and breast covered with white kerchief.

Fig. 9

Sometimes we meet repetitions of similar motives with different values (Fig.6), as in Travelling of the Princess (Fig.9). Tale of M.K.Čiurlionis. The white rising sun is repeated by black “sun” under the foots of the Princess. In Prelude of Town of this same author motive of black scenery repeats above in white town. Such changing as if breaks up space of picture into plans (foreground and background) and raises sensation of endlessness and anxiety. Thus symmetry of objects of different values is a case of manifestation of dissonance principle. In most cases all three kinds of symmetry exist in one picture – one element has its equivalent by any kind of symmetry in other quarters of picture. In Rembrand’s Young Woman Fitting Earring we notice not strong mirror symmetry besides symmetry of rotation. The bright rhomb of woman’s figure is itself mirror symmetrical figure. The mirror and sleeve above are negatively symmetric in respect of central vertical. Transmission’s case is noticeable in the edge of stretched kerchief with white spot of this same kerchief above and in the back of the arm-chair.

Examples of Rembrandt, M.K.Čiurlionis and V.Serov painting were taken for illustration of symmetry in the quarters of picture, because this kind of symmetry is noticeable especially clear there. What is common among these authors? Undoubtedly poetics and musicality. Thus we may think that existence of symmetry in the quarters of picture is one way of manifestation of poetics and musicality.

THE SECRETS OF PERFECTION

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