April 30th, 2014 - 03:43 AM
To expand on what I said at the intro/bio page...
While I didn't actually 'see' that chalice vision in a phenomenological way (since I knew my mind was creating it), the very 3D vision was far more 'complete' than I've yet been able to illustrate. However, I hope I will be able to present it sufficiently some day. The experience was a composite of new and old information, on visual, mental, and emotional levels of perception.
And I recognized then that, conceptually, there were strong relationships among the 'Holy Grail' and it's (relatively simple) legendary meanings and symbols as related to the chalice and the grail legend. Simple compared to the more universal archetypical symbols - as I understand the concepts and symbolism related to them, and how that relates to the grail legend. What's that got to do with the more technical aspects, geometry, and forms that composed this the chalice form?
Let's back up a bit, ok? I had not really focused on my art skills since high school or more (15 years or so before), but now began looking more into sacred geometry, as well as experimenting with more literal and aesthetically pleasing art forms. Then various related topics, including what I describe under the heading of 'Proportion and Function' at the 'Chalice Art' page at my website. All originated from the pen, ink, colored pencil, crayon, and magic marker foisted originals of mid-80's through early 90's. Those were scanned and used to learn the rudiments of digital art with the most fundamental of software (including much from MSPaint!). To break up the monotony of the inherent symmetry, that's where the artistry comes in. Which Is a big part of why I subtitle my Chalice-Art page as "the Art & Science of..."
When doing work based on sacred geometry, I've found a certain organization of templates and consistency of application is part of keeping all proportional. No use re-creating the wheel, and yet, for every piece, there can be a little or a lot of that for any re-applied "component". Favorite component assemblies often led and/or related to a style or "theme" that symbolized some concept (ie: an energy dynamic related to some purpose). The initiating of a new theme series usually led to the the beginnings of at least one more other components, sometimes new, and/or combined with others, eventually another theme, and so the process has developed.
The process of creating a 3D chalice could be said to have taken 11 years- and it "popped" out (albeit in very rough form) some months before I recognized it. Then I scrambled to find the "drawing board" with the raw assemblies that led to the output of the form I could work with to bring it out. And the infrastructure, if you will, that provided for it (in retrospect) was where I should've expected it to form, but I my mind is not mathematics-dominant, it's proportion-sensing, and from there I "get" the geometric relationships, then work backwards for the math as necessary. The blog on "Themanclature" goes deep into the relationships of artistic component, symbol, process, purpose, and a bit of ancient history. An illustrated "3D Chalice History" has been added below.
But that's how it developed to the extent it has. That is, as "playing" and/or "working", with these and other rendering ideas, emotions, and concepts that channel the creation of whatever project called for my attention. And the 3D chalice is still one part of many coming together to represent, hopefully, the origins and developments of what I call the "bridging chalice".
The symbols composing this chalice are drawn essentially from ancient archetypes that pre-date *any* major religion by many centuries or more, although many are found at the core of *many* different religions and philosophies. HOWEVER, whether one is religious, mystic, non-theist, or atheist, there are some very important elements that apply in any case -- that is, sufficiently in the scientific case, as well as in the spiritual space. The blog on "Sacred Geometry, Proportion & Function" here goes into this aspect.
Back to the symbols,which are so universal and of such depth: they would seem to relate to the potential of human evolution (philosophically, if not in other ways as well). Overall, This is why I like to consider the chalice as an ideal symbol of ecumenism - and not claimed, per say, by any particular faith or system, but one recognized as representing that bridging element, that chalice, within each of us. Related symbolism and many other elements surrounding the "bridging chalice" are elaborated on at the Chalice Art page. This and related studies came to find effect in my other interests, as well as vocations.
Before closing, I would like to add that I've found some very interesting effects upon the digital rendering of art with sacred geometric proportions. The tendency to pixelate when zooming in, for instance - while there is some degree of that, there seems to be an adaptive - as if the pixelation gets co-opted into the artistic effect - if the field of color is sufficiently dense - but this effect seems to be far more prevalent than with any other form of digital representation at any given dpi. Or maybe it's something else I'm doing (?) - or is it the chalice AND sacred geometry? (smile)
Images of some of the early works that make up the digital chalice art, as well as of the "3D Chalice History" have been put below.
At The Chalice Art Home Page there is much more, well organized (with a TOC, etc), and includes the below sections about what makes sacred geometry so special in our history, biological makeup, and communications.
* Some questions about art, geometry, and secrecy (ie: the "The Da Vinci Code"): "Why the Geometry Thing" - Position, Orientation, Communications, & Code
* About dimensions from the sacred pi ratio with a special section on: Archetypes & Geometry, Proportion and Function
* About "Diversity and the Gestalt - a Function of Sacred Geometry (Pi & Chaos Theory) ?"
* Related notes on this relationship between Art & Science at the "Themanclature" blog at Fine Art America
* My other blogs
"Atomic Chalice" (1986, Photo of work on wall, done with pen & ink, colored pencils, crayon)
"AChaliSynthesis" (digital, 2001)
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