By taking a careful look at that spiral (the chambered nautilus is probably the clearest example) you will observe that as it gets larger, it retains its identical form. It is the spiral commonly seen in shells. Let's begin with a shape with which we are all familiar. I will first begin with shapes, then discuss how a numbering pattern and a ratio (the Divine Proportion) are an inherent part of these shapes and patterns and are ubiquitous throughout creation. This Divine Proportion-existing in the smallest to the largest parts, in living and also in non-living things-reveals the awesome handiwork of God and His interest in beauty, function, and order. In Encyclopædia Britannica.In God's creation, there exists a "Divine Proportion" that is exhibited in a multitude of shapes, numbers, and patterns whose relationship can only be the result of the omnipotent, good, and all-wise God of Scripture. School Science and Mathematics, 110(5), 277+. The rise and fall of science education: a content analysis of science in elementary reading textbooks of the 19th century. Practical research: Planning and design (Eleventh edition, Global edition. Discrete Dynamics in Nature and Society, 2019, 6. Shrinkage Points of Golden Rectangle, Fibonacci Spirals, and Golden Spirals. The measure of beauty and the beauty of measure.
American Journal of Otolaryngology, 33(1), 80-7. Cochlea and other spiral forms in nature and art. Ĭetkovic, M., Marinkovic, S., Stankovic, P., Strbac, M., & Tomic, I. South African Journal of Science, 110(11), 1-2. School Science and Mathematics, 103(7), 351+. Digital images in mathematics and science instruction: the golden rectangle. The Real and the Ideal: An Investigation in Natural Pattern Design. Further research should try to examine various other art movements, and if modern era art is more prone to utilize the Fibonacci sequence as knowledge of this mathematical concept is more universally known.īacon, G. Therefore, it can be concluded that the Fibonacci sequence had differed in how often it had been incorporated when comparing the Baroque and Romantic eras to the Renaissance however, this is limited due to various factors during the analyzation process. The results had shown that the Renaissance era had utilized the sequence in 60% of its paintings, the Baroque in 40%, and the Romantic in 30%.
For each art movement, through content analysis, it was then determined whether or not each painting incorporated the Fibonacci sequence. Data was collected through content analysis based on random samples of paintings that I formulated. Prior research shows that the Fibonacci sequence has been noticed in some major Renaissance pieces, such as the Mona Lisa and the Vitruvian Man however, there is no apparent research done specifically on how this mathematical principle has appeared in other art movements, nor are there any existing comparisons made between art movements in regard to utilization of this sequence. By doing this, I hoped to further the understanding of the techniques and characteristics of paintings made during these art movements.
The goal of this study was to examine paintings from three different art movements-the Renaissance, Baroque, and Romantic eras-and determine if there were differences in the observed usage of the Fibonacci sequence during each period.
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