Da Vinci’s Mona Lisa

I learned about the use of the Golden Ratio when doing a work shop with Jonathan Quintin, a Geometric Cosmologist. For me, a beginner on the road of Sacred Geometry, it was absolutely amazing…and made so much sense. I really don’t remember our Lecturers talking about this when I studied Visual Arts at University 20 years ago. Maybe I was a bad student, or they just didn’t teach us! Anyway, since then I have come to understand the Golden Ratio, the Fibonaci Sequence and its relationship to ancient architecture, how it was used by artists and designers and where and how it exists in nature.

Golden Ratio

Besides the Mona Lisa, the Golden Ratio number 1.618 was used in the planning and construction of religious structures as well as for sacred spaces. Apparently, da Vinci methodically laid out his composition before he started to paint in order to align his model while using a camera obscura or camera lucida as suggested by artist David Hockney.

Just as the Golden Section is found in the design and beauty of nature, it can also be used to achieve beauty and balance in the design of art.  The Golden Section was used extensively by Leonardo Da Vinci.  All the key dimensions of the room, the table and ornamental shields in Da Vinci’s “The Last Supper” were based on the Golden Ratio, which was known in the Renaissance period as The Divine Proportion. See this YouTube clip to give you a bit more information about Da Vinci’s Sacred Geometry.

Leonardo Da Vinci explored the human body involving in the ratios of the lengths of various body parts. He called this ratio the “divine proportion” and featured it in many of his paintings. It is believed that Leonardo, as a mathematician tried to incorporate of mathematics into art. The Mona Lisa painting seems to be made purposefully line up with golden rectangle. In a nutshell he knew and used this to achieve beauty, harmony and balance.