![]() Examples: In an elm the arc is 1/2 the circumference in beech and hazel, 1/3 apricot, oak, 2/5 in pear and poplar, 3/8 in almond and pussy willow, 5/13 and in some pines either 5/21 or 13/34. In each case the numbers are Fibonacci numbers. This spiral pattern is observed by viewing the stem from directly above, and noting the arc of the stem form one leaf base to the next, and the fraction of the stem circumference which is inscribed. This is the appeal of the golden proportion.Īnother area of great interest is the occurrence of Fibonacci numbers in the spiral arrangement of leaves around a plant's stem (called phyllotaxis). rather than the effect of stillness and quiet" 3 of static symmetry. It gives animation and life to an artist's work. In static symmetry the lines have definite measurements whereas in dynamic symmetry it is the proportioning of the areas that is given emphasis. ![]() ![]() They would "take a blank easel and divide it into areas based on the golden proportions to determine the placement of horizons, trees, and so on." 2 Why the golden proportion? Art forms can be either of static or dynamic symmetry. 1Īrtists such as Leonardo da Vinci, Van Gogh, Vermeer, Sargent, Monet, Whistler, Renoir, and others employed the golden proportion in many of their works. Many of the things you use are (approximately) patterned after the golden rectangle-credit cards, playing cards, postcards, light switch plates, writing pads, 3-by-5 and 5-by-8 cards, etc. The United Nations building is a golden rectangle. This rectangular shape was close to the pattern used in the designing of the Parthenon of Greece and for many of their numerous pictures, vases, doorways, windowns, statues, etc., and even for certain features of the Great Pyramid of Egypt. If the short side of the rectangle is 1, the long side will be 1.618. Why did Phideas, the Greek sculptor, and others in ancient Greece and Egypt often use this ratio in designing many of their works of art? Because this ratio has been found to be remarkably pleasing to the human eye, it produces what is called a Golden Rectangle. This ratio is the most efficient of similar series of numbers. When the smaller number of this pattern is divided into the larger number adjacent to it, the ratio will be approximately 1.618 if the larger one adjacent to it divides the smaller number, the ratio is very close to 0.618. This numbering pattern reveals itself in various ways throughout all of nature, as we shall see. Each succeeding number is the sum of the two preceding numbers. 1200 by Leonardo Pisa (historically known as Fibonacci). These numbers are part of the Fibonacci numbering sequence, a pattern discovered around A.D. If small, 34 and 55 if medium 55 and 89 if large 89 and 144 When these spiral rows are counted in each direction, you will discover that in the overwhelming majority of the cases that their numbers, depending upon the size of the flower, will be of the following ratio: By looking carefully at a sunflower you will observe two sets of spirals (rows of seeds or florets) spiraling in opposite directions. We will first look at this spiral in sunflowers. This spiral follows a precise mathematical pattern. This spiral is visible in things as diverse as: hurricanes, spiral seeds, the cochlea of the human ear, ram's horn, sea-horse tail, growing fern leaves, DNA molecule, waves breaking on the beach, tornados, galaxies, the tail of a comet as it winds around the sun, whirlpools, seed patterns of sunflowers, daisies, dandelions, and in the construction of the ears of most mammals. The beauty of this form is commonly called the "golden spiral." Since the body of the organism grows in the path of a spiral that is equiangular and logarithmic, its form never changes. By taking a careful look at that spiral (the chambered nautilus is probably the clearest example) you will observe that as it gets larger, it retains its identical form. ![]() It is the spiral commonly seen in shells. Let's begin with a shape with which we are all familiar. I will first begin with shapes, then discuss how a numbering pattern and a ratio (the Divine Proportion) are an inherent part of these shapes and patterns and are ubiquitous throughout creation. This Divine Proportion-existing in the smallest to the largest parts, in living and also in non-living things-reveals the awesome handiwork of God and His interest in beauty, function, and order. In God's creation, there exists a "Divine Proportion" that is exhibited in a multitude of shapes, numbers, and patterns whose relationship can only be the result of the omnipotent, good, and all-wise God of Scripture.
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