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Hypothesis:

The 70th ANNIVERSARY of A. Y. FLIER

O. N. Volkostrelov, A. Ya. Flier. Culture is a program of group adaptive behavior of people. Interview

I. M. Bykhovskaya, O. I. Goryainova. Socialization and inculturation of the individual: a comparative analysis of socially significant practices

G. V. Drach. On cultural variability and social dynamics (referring to the works of A. Ya. Flier)

A.V. Kostina. A. Ya. Flier's concept of culture and its role in the development of Russian cultural studies

 

Discussions:

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

V. M. Rozin. From the culture of modernity to the "post-culture"

N. A. Khrenov. Between america and china: the concept of the "other" in the formation and transformation of russia's civilizational identity (beginning)

 

Analytics:

HIGH ART IN a CULTURE of MODERNITY (E. N. Shapinskaya’s Sectoin)

E. N. Shapinskaya. "Ah, it's not hard to deceive me..." Love games in cyberspace

CULTURAL REFLECTIONS

N. A. Khrenov. Culture and historical memory (beginning)

A. Ya. Flier. Power and culture: self-organization of society according to the model of vertical hierarchy


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

Founder:
OOO «Soglasie» publisher

Publisher:
Scientific Association of Culture Researchers

Official registration № ЭЛ № ФС 77 – 56414 от 11.12.2013

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