Leonardo da Vinci and Sacred Geometry
In this 8-minute video I analyze the composition of Leonardo da Vinci's masterpiece "St. Anne." I describe the sacred geometric forms he used to reveal the lineage of Jesus and to create a work of art used for meditation and contemplation.
Melissa Weinman and Sacred Geometry |
Below see examples of sacred geometric forms such as the Triquetra and Metatron's Cube in my paintings. Giclée prints of "Davina Helianthus" (Sunflowers) are available. E-mail me to order your print.
Purchase these paintings at Ventana Fine Art. Giclée prints of "Davina Helianthus" (Sunflowers) are available. E-mail me to order your print.
Portal Paintings
Most of the sacred geometry in paintings is embedded in the planar composition, that is, in the arrangement of shapes over the surface of the painting. My PORTAL paintings explore sacred geometry in three dimensions, which means I'm using the angles between the axes of objects in space to create 3-dimensional sacred forms. The difference can be explained by example. An implied triangle (2-dimensional shape) would be part of the planar composition, whereas an implied tetrahedron (3-sided pyramid) would be in the spatial composition. My PORTAL paintings were made by configuring 24-inch equilateral triangular mirrors into a tetrahedron. I then removed two sides in order to suspend the vase of flowers inside the tetrahedron and paint my subject. Because the angle between the two remaining mirrors remained intact, the third was implied through reflection. The axes of the vases imply tetrahedrons.
While analyzing Leonardo da Vinci's painting "St. Anne," I realized the key to seeing from one dimension into another is to move my compositions from two dimensions into three dimensions. The mirrors extend the dimensions almost infinitely. In my Portal paintings I'm attempting to extend the viewer's perceptions into other dimensions. I paint to witness the incarnation of the Divine in the natural world. I believe nature's beauty is Divine love in physical form.
While analyzing Leonardo da Vinci's painting "St. Anne," I realized the key to seeing from one dimension into another is to move my compositions from two dimensions into three dimensions. The mirrors extend the dimensions almost infinitely. In my Portal paintings I'm attempting to extend the viewer's perceptions into other dimensions. I paint to witness the incarnation of the Divine in the natural world. I believe nature's beauty is Divine love in physical form.
