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A large proportion of the vegetables sold in UK supermarkets come from an Almerian greenhouse like this. This crop is watermelons, the next one will be bell peppers. They are grown on an artificial layer of soil consisting of clay, compost and sand (from the nearby beaches) and irrigated with water from the damned River Adra that originates in the Sierra Nevada mountains. The vegetables are sold via the local co-operative to a number of European super markets, one of which is Sainsbury's. One of the watermelons that you eat this summer might well be from a greenhouse like this.
The environmental implications of growing fruit and vegetables in Almeria are multiple. Not least thanks to this widespread form of intensively irrigated agriculture, the ground water reserves of this semi arid area are not being replenished at a sufficient rate and are running low and becoming saline. Big investments have been made in technology for desalination of sea water but this means that locals are paying more for domestic water use. Pesticides and fertilizers at this scale are an issue onto themselves and can be linked to changes in biodiversity and groundwater quality.
However, the explosive growth in greenhouse horticulture that took place since Spain's EU accession in the 1980s has also brought unprecedented economic growth and prosperity to Almeria, previously one of the poorest provinces of Spain. While this means that any environmental legislation aiming to curb chemical and water use is very difficult to implement effectively, the living standard of many Almerians is now much higher that ever before.
The million euro question remains though, is this sustainable? What do you think??
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Along Hiwatha Avenue, Minneapolis, May 2017.
I visit one weekend in 7 years and it rains the whole time.
Camera: Cosina Voigtlander Bessa R3M
Lens: KMZ 50mm f1.5 Jupiter 3
Film: Kodak Alaris Portra 160
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
I decided to look at figure drawing and encouraged the students to make little jointed figures to aid their drawings of movement, I think it worked quite well.
The farm has many examples of proportion. The two silos on the left side (one is taller/bigger than the other), and the main barn in the front is larger than the one to the right of the picture.
Durga
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In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
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Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
I never study a church before I go, maybe that's a fault on my part because I might miss something important and so have to go back. But for me, it's the wonder as you walk through the porch or door into the church, not knowing what to expect.
St Mary's looks like a typical Suffolk church from the outside, nice proportioned tower, good quality flint knapping. And yet once you enter, your breath is taken away by the glorious restored ceiling.
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It is not easy to find Huntingfield; even the signposts do not bear its name until you are within the parish boundary. Yet this shallow valley, divided by the infant river Blyth, with church and parsonage on one bank and manor house on the other, has been owned by some notable families in England's history.
The church is a Grade 1 Listed Building, largely due to its amazing Victorian painted ceiling.
The existing church certainly dates from the 11th century but there are signs that there had been a chapel here long before.
Some fragments of carved stones are set into the wall of the tower. At the beginning of this century they were turned up by a ploughman in a field called 'Chapel Field', a little to the south of the present church. They are fragments from a Saxon stone coffin and standing cross of the 10th century, long since disappeared.
The oldest part of the church is the wall between the nave and the north aisle which was the solid outer wall of the original twelfth century church. That church would have been small and dark, the whole building probably standing within the area of the present nave. The light would have come from small high windows of which one still remains above the two round-headed arches.
This wall has been altered at least twice. It was first broken through when the north aisle was built, and again in the nineteenth century when the arches were given their present 'Norman' curves. That first church was built by the family who took their name from the village and lived in the manor for 250 years, the Lords de Huntingfield.
The chancel was added in the thirteenth century.
By the end of the fourteenth, the south side of the nave had been altered and both aisles had been built in the fashionable Gothic style with its pointed arches. The five small high, or clerestory, windows on the south side of the nave would have provided light into the nave, the advent of affordable glass having made such things possible.
The east window of the south aisle has all that remains of the medieval glass that would once have filled many of the windows. There is a record of what was still to be seen here in the sixteenth century which lists the memorial windows with the coats of arms borne by the families who once owned the Manor.
The windows of the south aisle are particularly pretty and date from the fifteenth century. Their Perpendicular style is indicated by their familiar flat-topped shape. The porch is also from the fifteenth century.
The font dates from the fourteenth century.
The ceiling painting is very special and is explained on a separate page. The work was carried out in the 19th century while William Holland was rector. At the same time the organ and vestry were added with the Vanneck family vault beneath.
The ceiling is a masterpiece of Victorian church decoration, painted from end to end in brilliant colours, with carved and coloured angels, with banners, crowns and shields, all in the medieval style and of a most intricate and detailed finish.
The scheme of decoration is important as it reflects the ecclestiastical devotion of the late Victorian period clergy and their patrons, combined with the heightened liturgical practices of the Oxford Movement.
It was painted by Mildred Holland, the wife of William Holland who was rector for 44 years from 1848 until his death in 1892. The church was closed for eight months from September 1859 to April 1860 while she painted the chancel roof. Tradesmen provided scaffolding and prepared the ceiling for painting but there is no record to show that she had any help with the work, and legend has it that she did much of it lying on her back. We may imagine Victorian ladies wearing tight laced corsets and many petticoats, and wonder how she managed the ladders, scaffolding and hard labour of painting. She had an adviser on her schemes, a Mr. E. L. Blackburne F.S.A., an authority on medieval decoration.
The twelve large panels of the chancel ceiling each show an angel holding either a scroll with the words of the canticle 'Blessed be the Lord God of Israel', or the emblems of the Passion: the cross, the hammer and nails, the scourge, the lance, the crown of thorns and the reed.
Two pelicans in their piety (pecking their breasts to feed their young) are in the last small panels.
Between the beam ends of the chancel roof there are Bible verses in Gothic lettering,
then two tiers of panels; the lower have pictures of the Lamb of God alternating with`the Keys of Heaven. Above, are crowned monograms.
Above the Chancel Arch, the Lamb of God is depicted with the words 'Glory, Honour, Praise and Power unto the Lamb for Ever and Ever', lines taken from the Book of Revelation.
Three years later Mildred Holland began to paint again in the nave. In 1866 her husband William makes a note 'scaffolding finally taken down, September Ist'. The whole cost of repairing the nave roof, preparing it for painting and for materials amounted to £247.10s.7d of which £16.7s.6d was for 225 books of gold leaf and £72 for colours. William Holland's notes show that between 1859 and 1882 a total of £2,034. 10s.0d was spent on the church restoration, of which, apparently, he gave all but £400.
Recent research has found the complete record of William Holland's work in restoring and furnishing the church. These are available for interested students.
The figures on the nave roof are of the twelve apostles and two female saints. Each is painted in the lower tier with their traditional symbols and again in the upper tier clothed in heavenly raiment holding scrolls bearing their names.
Note that Saints Margaret and Andrew are both included as there is a tradition that these two saints were specially venerated here. There are niches for statues in the south aisle which may have held statues of them. The cult of St Margaret of Antioch grew in the 10th century and her veneration was brought back to England by crusaders. Her inclusion here may hint at an early date for the church's foundation.
Mildred Holland died in 1878; William served on until 1892, a total of forty years. He gave the font cover in memory of his wife and also the brass lectern with its graceful angels and winged dragons. Their graves are in the churchyard to the west of the entrance gates. Side by side they lie, beneath a table tomb alongside a standing cross.
It is natural to speculate about the roof. It is of a single hammer-beam construction, arch-braced principals alternating with hammer-beams ending in carved angels. The angels in the nave carry a crown or a banner, those in the chancel have heraldic shields bearing arms. The question all ask is: are these angels genuinely medieval work which escaped the axes of the post-Reformation Puritans, (and remember that William Dowsing, the arch-destroyer, came from nearby Laxfield) or are they all the handiwork of Victorian craftsmen?
Traditional East Anglian hammer-beam roofs generally terminate in a carving of some sort, and the de la Poles made angel roofs in the churches of their manors, even taking Suffolk carpenters to Ewelme in Oxfordshire to make one there. But our angels are too perfect to be so old. Entries in a tradesman's account of 1865 would seem to settle the matter; or do they?
The fourteenth and fifteenth centuries were times of great development and two families, both wealthy and influential, used their means to beautify and rebuild the churches on their manors including St Mary's. Keeping up with the neighbours is not a new fashion. Both left their marks on the font which, standing on restored steps and with a splendid cover, shows two heraldic shields.
The shield facing south depicts the arms of de Ufford while that on the north side is of de la Pole.
The de Ufford shield is that of Sir William de Ufford, Earl of Suffolk during the reign of Edward III. He held Framlingham Castle for the King and owned several manors in Suffolk. Among these were Parham, where he built the church, and Huntingfield.
The other shield is that of Michael de la Pole, Lord Chancellor and Earl of Suffolk, who married Catherine, daughter and heiress of Sir John Wingfield of Wingfield Castle. He succeeded to the manor of Huntingfield through his wife, and died in 1389. The shield shows both of their arms.
Michael de la Pole's has three polecat faces while Catherine Wingfield's has three open wings. Both are puns on their names. (For another heraldic pun look for the arms of Huntingfield being held by one of the angels in the roof: three hunting horns on a 'field'.)
In Ufford church you can see a medieval font cover which was a model for ours when it was made in the nineteenth century. In Wingfield church there is a font so like ours that it was probably made by the same craftsman.
www.stmaryshuntingfield.org.uk/history.htm
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There is nowhere else in Suffolk quite like St Mary. Huntingfield is one of the county's most obscure villages; there are hardly any signposts to it. It is the nearest village to the great pile of Heveningham Hall, and perhaps these two facts are not unconnected. But it is worth getting out the old Ordnance Survey map, because here at St Mary was a remarkable 19th century restoration.
In the second half of that century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration. Internal decorations were, perhaps, the bespoke work of the architect; witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich.
Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others; as, for example, Salvin's Flixton St Mary. What was the driving force behind Victorian revisionism? Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a ferment of new ideas and the reaction to them. The changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial; but gradually, they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe.
By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where it was the local vicar who drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
What the vicar of Huntingfield had, and many other ministers didn't, was a visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband, the Reverend William Holland, kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'.
J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. He did, however, refit the little windows in the south clerestory. But you come here to see the painted roofs, which are perfectly splendid. Beware if you come with children, or it will cost you a fortune in pound coins to activate the illuminations.
The font cover is not part of Mildred Holland's work; rather, it is her memorial, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.
Curiously, Ann Owen, the wife of the vicar of nearby Heveningham, produced the stained glass there; a novel is waiting to be written about these two women.
For such an obscure village, St Mary has had its share of influential patrons. Four major families in particular have left their mark here. Before the Reformation, the de la Poles and Uffords, whose shields you'll find on the font, and in later years the Cokes and the Pastons, both more usually associated with Norfolk.
But, as I have said, you don't come to Huntingfield because of important dead people. Look up, look all around, and see the true memorial to Mrs Holland. It does not have the gravitas of Lound, or the piety of Kettlebaston. And I really love it for that. I think this is a place that should be better known, and not just because of the way it contrasts with the less successful 19th century restorations at neighbouring Cookley and Walpole.
What we have here is as fine a display of 19th century folk art as you'll find anywhere in the county.
Simon Knott, 2001 (updated 2007)
This sprawling church to the north of Watton sits in a fairly small churchyard at a wide curve in the road. The south porch is a rather austere affair, set partly within the aisle. The aisle itself, and the clerestory, are not imposing. This is a big tower, but in proportion not a tall one, and so the overall effect is of a building which squats comfortably.
The aisle and clerestory are solidly Perpendicular, the tower with its fine west window from an earlier, gentler Decorated period. Round the back, the north doorway is even older, perhaps revealing the true age of the building.
St Nicholas is a fine church, and a good example of how the Victorians really got things right. It also reveals something of the liturgical developments since. The 19th century restoration of Anglican parish churches was generally an attempt to move them away from the evangelical preaching boxes they had become, and return them to something like their medieval integrity, with all the trappings that this implies, an attempt at what the Historian Eammon Duffy has called a 'resacramentalisation' of the interior. Here at Ashill this was done by the book, with fine, solid furnishings in a 15th century style, a screen in the same style incorporating part of an old one, the medieval font reset proudly at the west end in a sea of tiles, coloured glass all around.
This happened at thousands of English churches, and the work stands and falls by how well it looks today. Here at Ashill it looks very fine indeed, and this is largely because of some excellent medieval survivals which the Victorians set on proud display. The best medieval work here is the sequence of glass panels in the north side windows. They are the remains of a set of the Four Evangelists and the Four Latin Doctors. We have St John and St Mark from the first set, and St Augustine and St Gregory from the second. St John has been given the head of a woman.
The old glass is offset by some excellent 19th century glass. Scenes of Christ with Mary Magdalene are in the west window, and a good crucifixion fills the east. Unfortunately, this is rather hard to see. Currently, the chancel is curtained off to use as a meeting and resource room, and the nave altar has become the main altar. It is worth going into the chancel though, because the east window is flanked by 13th century columns typical of the Early English period, again a suggestion of the true age of this building.
The traceried 14th century font has a big surprise: a bearded head looks out from under one of the panels. Another curiosity is the royal arms up on the north wall. They are dated 1683 and are cast in iron. At the west end of the aisle is the most moving survival of all. This is a Flanders cross, which originally stood above the grave of Machine Gun Officer Lieutenant KC Ford, who died of wounds received in Plogstrat Wood in December 1915. The cross would have been placed above his temporary grave while the battle continued around him - indeed, there is a large hole in the cross caused by shrapnel or a bullet. After the war, the bodies were exhumed and collected together, and were reburied under marble crosses in war cemeteries. As far as possible, the original wooden crosses were sent back to the dead soldiers' parishes of origin, and one survives here today.
Taken from: www.norfolkchurches.co.uk/mainpage.htm.
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Durga
------
In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
----------
Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
I decided to look at figure drawing and encouraged the students to make little jointed figures to aid their drawings of movement, I think it worked quite well.
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted. The simple golden ratio PHI can exalt your art with the golden ratio harmonies in the form of golden rectangles, golden triangles, golden spirals, golden cuts, and more, all linked by the divine proportion!
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Durga
------
In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
----------
Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
A short drive from Aylesford is Birling, a small but attractive village, stretched out along a winding street, and dominated by the church on a rise. The road winds round it then out of the village.
I was past the church and out of the village again before I knew it.
I found a place to park and walked to the church, hopeful it might be open.
It was not.
But details of the keyholder said they lived opposite, so I knocked and was presented with the large key from a rusty nail on the wall. I thought you were selling something she said.
I walk back through the lych gate, up the steps and turn the key in the lock. Turning the handle, I push and the door swung open, revealing the church to be dark. But there were light, I flicked them on.
-------------------------------------------------
Dominating the centre of this tiny village, Birling tower is a thinned down version of the familiar `beacon turret` so commonly found in Kent. Thinned down because there wasn't room for a properly proportioned structure, so close is it built to the end of the escarpment on which the church stands. The church is famed for two features, both connected with the Nevill family. The first is the cast-iron trapdoor the their burial vault in the chancel, resplendent with highly coloured bulls (the family emblem) and the family motto. The second is the font cover, carved by daughters of the family in the nineteenth century. Each section is initialled on the inside so that you can see who carved it. West tower, south aisle, nave, north aisle, chancel.
The church, which is dedicated to All Saints, is a handsome building, consisting of a nave, south isle, and chancel. It has a good tower at the west end of it.
The church of Birling, with certain land in this parish, was given by Walkelin de Maminot, lord of this place, in the 15th year of king Henry II. anno 1168, to the priory of Bermondsey, in perpetual alms; which gift was confirmed by that king. Soon after which it seems to have been confirmed and appropri ated to it by Walter, bishop of Rochester, at the king's request; and again more amply by the bishops Gualeran and Gilbert, his successor; and again by the Says, as heirs to the Maminots; and by Geoffry de Say, who married Alice, sister and coheir of Wakelin Maminot. The prior and convent of Rochester, in 1270, John, prior of, and the convent of St. Saviour, Bermondsey, acknowledged an annual pension of 20s. due from this church to the bishop of Rochester, which pension continues to be paid to the bishops of that see.
Upon a writ in the 20th year of king Edward III. the bishop certified, that the prior and convent possessed the appropriation of this church, which was taxed at ten pounds, and that the religious were not resident upon it. (fn. 14)
Richard Mann, perpetual vicar of this church, about the year 1447, anno 26 Henry VI. made complaint to the archbishop of Canterbury, of the insufficiency of the revenue of the vicarage for his maintenance, and that the prior and convent of Bermondsey, proprietaries of this church, refused to augment the portion of it; and he set forth that the produce and income belonging to the vicar and vicarage, did not exceed the annual value or sum of 4l. 15s. 8d. in the tithes of calves, milk, and foals 8s. 9d. yearly; in the tithes of lambs, wool, pigs, geese, apples, hemp, and in the tithes of the oblations of the four days yearly; and for sheep and cows forty one shillings and twelve-pence, in the pension paid to the vicar by the abbot and convent forty-four shillings and tenpence. And further, that the portion of the vicar and vicarage had been for some time, and was then insufficient, incompetent, and too slender; and that he could not, out of it, be supported in a proper manner, nor undergo the rights and burthens incumbent on him, or his vicarage, nor use that hospitality which he ought and was bound to do. That the parish church had a large and extended parish, containing six miles in circuit, having some of the parishioners of both sexes two miles or thereabout distant from the church, which, when there was occasion, he was bound to visit, and to administer to them the church offices and sacraments. That the mansion of the vicar there, and the buildings belonging to it, were, through the negligence of the abbot and convent, in a ruinous state, and would very soon, fall to the ground; which if they should they could not be rebuilt again for twenty pounds. That he the vicar had exercised the no small cure of fouls of the parish church, of one hundred parishioners, or thereabouts, although with great inconvenience, and in great misery and want during the whole time of his having been vicar, and had employed himself in every religious duty to the best of his abilities, and still continued so to do. That the portion of the fruits and profits of the parish church, belonging to the abbot and convent, proprietaries of it, had been from the time of the appropriation of it, and was then so rich and abundant, that, according to common estimation, the portion of the vicar might well be augmented out of it to the value of twenty marcs sterling, or thereabout; and that the abbot and convent, although they had been often requested, to augment the portion of the vicarage, out of the revenues of the church, in a competent manner, had, without alledging any reason, always refused it, or at least deferred it beyond reason, to the great damage, &c. Upon which it was decreed, that the prior and convent should augment the portion of the vicarage out of the fruits and profits of this church, or in money, to the amount of eight marcs sterling, beyond the antient portion of it, within the space of one month; and they were condemned in all costs, &c. but on their neglecting to obey this decree, a further one was made, that in satisfaction of the payment of the said eight marcs, there should be set apart and assigned to the vicar, and his successors, (at his request) the tithes, as well great as small, yearly accruing and arising from the lands, fields, and places below the lane, vulgarly called Benetis-lane, westward, and from the north side of the said lane, according to the bounds and limits of this parish, to those of the parish of Snodland on the north side, and from thence to the bounds and limits of the parish of East Malling on the east side, to the common pasture of Hordo, and from thence to the south end of Benetis-lane aforesaid, &c.
¶When the church of Birling, and the advowson of the vicarage passed from the above mentioned monastery, I have not found, but it appears by an inrolment made in chancery, and now in the Augmentation-office, that in the 13th year of king Henry VIII. George Nevill, lord Abergavenny, was possessed of a barn, and one hundred and fifty acres of land late belonging to that monastery, and then inclosed in the park of Birling, and also of the rectory of Birling, and all tithes, tenths, &c. belonging to it, and the advowson of the vicarage late belonging to the abbot and convent. Since which, they have descended down to the Right Hon. Henry, earl of Abergavenny, the present owner and patron of them.
www.british-history.ac.uk/survey-kent/vol4/pp474-488
LOCATION: At c. 110 feet above O.D. on a Folkestone beds knoll at the north end of the village. Birling Place lies ¾ mile to the north-west.
DESCRIPTION: A church is mentioned in Domesday Book (1086), and it is probable that the nave of the present church, without its aisles, is Norman. The only evidence for this, however, is one tufa block on the south-west corner of the nave, and some detached (?reused) tufa blocks in the west face of the south-west buttress to the south aisle.
In the early 14th century first one aisle, then the other, was rebuilt with finely-tooled octagonal arcade piers of Kentish Ragstone. Above them are moulded capitals (slightly different south and north) with pointed arches over with double hollow chamfers. There are four bays of arcading, but the arches are not exactly regularly spaced, and the centre pier on the north is more elongated east-west, with an indication that there might have been a narrow partition on its north and south sides. There is also a slight scar opposite in the north wall. The south side has a separate gabled roof (of plain rafters, collars, braces and unmoulded tie-beams), and this is also perhaps 14th century. The aisle wall has three buttresses on the south, and at its east end (possibly the chapel of St. James) is a double trefoiled window. There is another in the south wall at the east end, with piscina just east of it. All the other windows in the south aisle are single trefoiled lights. The south doorway is also contemporary and has a hoodmould over its 2-centred arch. The door and hinges may also be original. Outside the door was a porch, but this was removed in the mid-19th century.
The north aisle outer wall has a more complicated history. At its east end, which may have been the Lady Chapel, two 2-light 15th century windows (on the north and east) seem to have been inserted into the 14th century fabric. There is also a high lancet over the east window, and a small blocked doorway (visible outside) in the north-east corner. A long thin pilaster buttress on the outside of the north wall, which slopes back into the wall, may have related to a later 15th century Rood stair. The west end of the aisle, which has an external plinth seems certainly to have been rebuilt in the late 15th or early 16th century, though the 2-light north window here appears to be a reset 14th century one. The north doorway has pyramid stops, and an early 14th century single-light trefoil-headed window above. It now leads into a 19th century vestry. There is also perhaps an original door here. The roof over the aisle has moulded beams and wall-plates, and a partitioned off vestry at its west end. Also the ground level in this aisle appears to have been lowered.
The west tower is a fine early 15th century ‘Kentish’ tower with a crenellated parapet and pyramid roof. It contains 8 bells (three of 1631) set in a new (1987) iron frame. It has also had many of its find Kentish ragstone dressings restored (also in 1986-7) with many new stones. This has been an over-zealous restoration. On the south-east side of the tower is a semi-octagonal stair-turret, which rises above the tower-top, and has its own tiled octagonal roof. The tower has diagonal western buttresses, and a square-headed western doorway with pyramid stops (all the dressings of this doorway, and the tracery of the Perpendicular windows above have recently - 1987 - been restored). Under the tower arch was a gallery until 1866.
As has already been seen, the west end of the north aisle was probably rebuilt in the later 15th century (there are a few red-bricks in the walls), and at the east end of this aisle a north and a south window seems to have been inserted, as well as possibly a Rood-stair. There is also a 15th century Ragstone font (with 1853 cover).
There is no chancel arch, and a large wide early 16th century chancel. This chancel must have been completely rebuilt in the 1520s by the Nevill family after they had acquired the patronage of the church from Bermondsey Abbey. On the south side are four square-headed early Tudor 2-light windows, and only the western one has Perpendicular tracery. The wall is in quasi-checker work, and has a hollow-chamfered plinth, which also goes round a diagonal (south-east) buttress and along the east wall. Here there is a large six-light window (also without tracery and perhaps with original ferromenta) that Hasted says contained glass with the arms of Sir George Nevill, Lord Bergavenney, ‘within the garter’ (He was a knight of the garter from 1514, and was buried here in 1535). There is also a small round-headed window in the east gable, with red bricks around it, but the wall and window had to be repaired after 1942 bomb damage. The very plain north wall of the chancel contains large Rag and ironstone blocks in quasi-checker pattern. It has no plinth and only one window (at the extreme western end), but also a north doorway from it into a 19th century vestry. Was there an earlier larger vestry?
The chancel has a moulded flat ceiling (painted in 1963), and the earlier steep-pitched roof was replaced in c.1828 with a low-pitched slate covered roof. At about the same time the Nevill family burial vault was rebuilt under the eastern third of the chancel. It has a cast-iron cover to the entry steps, and there are two early 19th century niches on either side of the sanctuary, with air-vents to the vault beneath. The family pews in the chancel, and the other fittings and memorials were put there in the mid-19th century. (Two fire helms from the chancel are now in ‘safekeeping’).
BUILDING MATERIALS: c.):
The principle rubble materials are local Ragstone and ironstone, with Ragstone dressings. A few perhaps reused tufa blocks from the early church are in the west wall, and some red brick is used in the early 16th century work.
Some Caenstone (?for restoration) and cement repairs.
EXCEPTIONAL MONUMENTS IN CHURCH: -
Various 19th century Nevill monuments in the church, especially in the chancel (with early 19th century burial vault below it). Royal Arms of 1700 above south doorway.
CHURCHYARD AND ENVIRONS:
Size & Shape: Large irregular area around the church with a steep drop to the north, west and south. It has been much extended to the north- east. There is a very good plan of the whole churchyard (with all known graves surveyed on it) hanging in the Church. Enlarged in the 19th century from small graveyard around the church. Very steep slope on the east side, down to the road (Horn Street)
Condition: Good.
Boundary walls: Ragstone walls retaining sunken lanes on north and west
Building in churchyard or on boundary: 1987 Lychgate to the south-west.
Exceptional monuments: Some good headstones.
Ecological potential: Yes.
HISTORICAL RECORD (where known):
Earliest ref. to church: Domesday Book.
Late med. status: Vicarage.
Patron: Given by the Lord of Birling manor to Bermondsey Abbey in 1168. It was appropriated soon afterwards. After the Dissolution (by c.1530) to Lord Abergavenny (Nevill formerly) till 1959.
Other documentary sources: Hasted IV (1798), 485 - 8.
Testamenta Cantiana (W.Kent, 1906), 5, mentions: Repair to one window on the south side of the church (1501). Also altars of ‘Our Lady in the chapel’ (1516) and ‘To be buried by side of Chaunsell of Birlyng at the hede of Saynt James aulter’ 1523).
ARCHAEOLOGICAL RECORD:
Reused materials: A few reused Roman bricks, and tufa blocks in S.W. corner of south aisle.
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: ? Good, though there is a large vault under the chancel, and the floor level of the north aisle appears to have been lowered.
Outside present church: ? Good.
RECENT DISTURBANCES/ALTERATIONS:
To structure: The tower was very heavily restored with many new dressings, and a new iron bellframe on a reinforced concrete ringbeam in 1986-7.
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
The church and churchyard: A few tufa blocks perhaps from the Norman nave west quoins, but otherwise the earliest visible fabric are the 14th century nave aisles and arcades. Early 15th century west tower. West end of north aisle rebuilt in c. 1500, and possibly a Rood stair made on the north side. Chancel completely rebuilt in the 1520s by the Nevill family.
The wider context: One of a small group with a rebuilt (by an important patron) early 16th century chancel.
REFERENCES: -
Guide Book: Leaflet (Revised) 1989 Anon.
Photographs: Photo of font and font cover in Kent Churches 1954, 127 (cover made 1853).
Plans & early drawings: Petrie 1807 view of church from S.E., showing steep-pitched roof over chancel. Also a porch on the south side of the church.
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
"Judge John Glass Malloch in 1858 erected Victoria Hall, one of the finest private residences then in existence in the eastern portion of Upper Canada. Built of dressed limestone, this seventeen room mansion, with stately and well proportioned apartments, plate glass windows, staircases of solid walnut, handsome marble mantel pieces and library with panel portraits of Macaulay, Moore, Milton, Burns, gwm-HospitalByron, Shakespeare, Scott and Rollin, constituted a home of which its owner might well be proud. Its furnishings a appointments were in keeping with the exceptional features of this Early Victorian residence. the outbuildings, consisting of the carriage house, stables and woodshed were all constructed of the same material as the house, as well several stretches of stone wall. In the rear was a large grove of magnificent elms and other deciduous trees, while the orchard, garden, shade trees, shrubbery and buckthorn hedge all contributed to the Hall’s attractive surroundings. For a quarter century after the Judge’s death in 1873, Victoria hall was untenanted, except when occasionally occupied for a season by members of the Malloch family. On June 1st 1922, the Board of the Perth and District War Memorial Hospital acquired the property." - info from Perth Remembered.
"Perth is a town in Eastern Ontario, Canada. It is located on the Tay River, 83 kilometres (52 mi) southwest of Ottawa, and is the seat of Lanark County.
The town was established as a military settlement in 1816, shortly after the War of 1812. The settlement of Lanark County began in 1815. In that year "the Settlement forming on the Rideau River" as it was officially referred to (and which soon became known as "Perth Military Settlement") began to function under Military direction. The settlement was named Perth in honour of acting Governor-General Sir Gordon Drummond, whose ancestral home was Perthshire.
The Tay River splits into two main channels for much of its course through Perth. Much of downtown Perth, including the town hall, is on the island formed by the two channels. During the summer and fall of 2015, the fork in the river was modified to reduce erosion and flooding downstream.
The heritage downtown core of today's Perth consists of boutiques, specialty shops, cafés and restaurants, including crafts, antiques and flea markets, and summer Farmers' and Craft Markets. Most of these operate out of the century-old stone buildings in town. Code's Mill began as a tannery in the 1840s and then produced socks and felts until the mid-1900s. It was renovated in 1998 and now features a restaurant, boutique shops and wedding hall. The Perth Museum, situated downtown at the Matheson House, is a historic house constructed in 1840 and is designated as a National Historic Site of Canada." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
Find me on Instagram.
Feel free to make a donation if you appreciate my photos.
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Or she may be called "The Fat Lady", I've no idea.
From the Sculpture Park beside the Cascade in Yerevan, Armenia.
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted. The simple golden ratio PHI can exalt your art with the golden ratio harmonies in the form of golden rectangles, golden triangles, golden spirals, golden cuts, and more, all linked by the divine proportion!
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Durga
------
In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
----------
Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. What he called his prophetic works were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language".[2] His visual artistry led 21st-century critic Jonathan Jones to proclaim him "far and away the greatest artist Britain has ever produced".[3] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[4] While he lived in London his entire life, except for three years spent in Felpham,[5] he produced a diverse and symbolically rich œuvre, which embraced the imagination as "the body of God"[6] or "human existence itself".[7]
Although Blake was considered mad by contemporaries for his idiosyncratic views, he is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of the Romantic movement and as "Pre-Romantic".[8] A committed Christian who was hostile to the Church of England (indeed, to almost all forms of organised religion), Blake was influenced by the ideals and ambitions of the French and American Revolutions.[9] Though later he rejected many of these political beliefs, he maintained an amiable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg.[10] Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Michael Rossetti characterised him as a "glorious luminary",[11] and "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors"
Blake's first collection of poems, Poetical Sketches, was printed around 1783.[31] After his father's death, Blake and former fellow apprentice James Parker opened a print shop in 1784, and began working with radical publisher Joseph Johnson.[32] Johnson's house was a meeting-place for some leading English intellectual dissidents of the time: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli,[33] early feminist Mary Wollstonecraft and English revolutionary Thomas Paine. Along with William Wordsworth and William Godwin, Blake had great hopes for the French and American revolutions and wore a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784 Blake composed his unfinished manuscript An Island in the Moon.
Blake illustrated Original Stories from Real Life (2nd edition, 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence proving that they met. In 1793's Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfilment.
From 1790 to 1800, William Blake lived in North Lambeth, London, at 13 Hercules Buildings, Hercules Road.[34] The property was demolished in 1918, but the site is now marked with a plaque.[35] There is a series of 70 mosaics commemorating Blake in the nearby railway tunnels of Waterloo Station.[36][37][38] The mosaics largely reproduce illustrations from Blake's illuminated books, The Songs of Innocence and Experience, The Marriage of Heaven and Hell, and the prophetic books.
In 1788, aged 31, Blake experimented with relief etching, a method he used to produce most of his books, paintings, pamphlets and poems. The process is also referred to as illuminated printing, and the finished products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name).
This is a reversal of the usual method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching (which Blake referred to as "stereotype" in The Ghost of Abel) was intended as a means for producing his illuminated books more quickly than via intaglio. Stereotype, a process invented in 1725, consisted of making a metal cast from a wood engraving, but Blake's innovation was, as described above, very different. The pages printed from these plates were hand-coloured in water colours and stitched together to form a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and of Experience, The Book of Thel, The Marriage of Heaven and Hell and Jerusalem.
Although Blake has become better known for his relief etching, his commercial work largely consisted of intaglio engraving, the standard process of engraving in the 18th century in which the artist incised an image into the copper plate, a complex and laborious process, with plates taking months or years to complete, but as Blake's contemporary, John Boydell, realised, such engraving offered a "missing link with commerce", enabling artists to connect with a mass audience and became an immensely important activity by the end of the 18th century.[40]
Europe Supported by Africa and America is an engraving by Blake dating to 1792 held in the collection of the University of Arizona Museum of Art. It depicts three attractive women embracing one another. Black Africa and White Europe hold hands in a gesture of equality as the barren earth blooms beneath their feet. Europe wears a string of pearls while her sisters Africa and America, wearing slave bracelets, are depicted as "contented slaves".[41] Some scholars have speculated that the bracelets represents the historical fact while the handclasp Stedman's "ardent wish": "we only differ in color, but are certainly all created by the same Hand."[41] Others have said it "expresses the climate of opinion in which the questions of color and slavery were at that time being considered, and which Blake's writings reflect".[42] The engraving was for a book written by Blake's friend John Gabriel Stedman called The Narrative of a Five Years Expedition against the Revolted Negroes of Surinam (1796).[43]
Blake employed intaglio engraving in his own work, such as for the illustrations of the Book of Job, completed just before his death. Most critical work has concentrated on Blake's relief etching as a technique because it is the most innovative aspect of his art, but a 2009 study drew attention to Blake's surviving plates, including those for the Book of Job: they demonstrate that he made frequent use of a technique known as "repoussage", a means of obliterating mistakes by hammering them out by hitting the back of the plate. Such techniques, typical of engraving work of the time, are very different to the much faster and fluid way of drawing on a plate that Blake employed for his relief etching, and indicates why the engravings took so long to complete.
The commission for Dante's Divine Comedy came to Blake in 1826 through Linnell, with the aim of producing a series of engravings. Blake's death in 1827 cut short the enterprise, and only a handful of watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have earned praise:
'[T]he Dante watercolours are among Blake's richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem.
Blake's illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text.
Because the project was never completed, Blake's intent may be obscured. Some indicators bolster the impression that Blake's illustrations in their totality would take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, "Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost." Blake seems to dissent from Dante's admiration of the poetic works of ancient Greece, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).
At the same time, Blake shared Dante's distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Even as he seemed to be near death, Blake's central preoccupation was his feverish work on the illustrations to Dante's Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted. The simple golden ratio PHI can exalt your art with the golden ratio harmonies in the form of golden rectangles, golden triangles, golden spirals, golden cuts, and more, all linked by the divine proportion!
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)