Source: ALEXANDRIA: The Journal of the Western Cosmological Traditions, Volume 2, pp. 95-110

The Science and Art ofA nimating Statues

DAVID FIDELER

ForJohn Michell

ACCORDING TO the ancient Egyptian Hermetic writing entitled the Asclepius or Perfect Discourse, one of the magical arts of antiquity involvedthe animation ofstatues. Through this art, the statue became the home of a living spirit

so that what is ofheavenly nature, being drawn down into the images by

means of heavenly use and practices, may be enabled to endure with joy

the nature of mankind, and sojourn with it for long periods of tim e.'

Elsewhere, in the same writing, it is told how our ancient ancestors chanced upon the "art of making gods" out of some material sub­stance:

And to this invention they added a supernatural force whereby the

images might have the power to work good or hurt, and combined it with

the material substance; that is to say, being unable to make souls, they

invoked the souls of spirits and implanted them in the statues by means

of holy and sacred rites. '

The notion ofstatues being so carefully wrought that they come to life is an archetypal, universal notion. It appears, for instance, in the Greek myth of Pygmalion. He fell so in love with Aphrodite that he made, with great care and exquisite craftsmanship, a beautiful ivory

95

96 OAVIO FIDELER

image of her. The goddess, impressed by Pygmalion's devotion,

entered into the image and brought it to life as Galatea, wh o bore him

Paphus and Methanne. In ancient Egypt, not only were the bas reliefs

of the temples designed to become the receptacles ofliving spirits, but

the temple itself was conceived of as the very incarnation of the god .

As E. A. E. Reymond notes in his book on Th e Mythical Origin ofthe Egyptian Temple,

The temple was regarded asa living entity. We are already fam.iliar with

the ideas of the temple and its reliefs being animated, but it appears that

there was more than mere animation. Reasons are cited for suggesting

that the temple was conceived as the material embodiment of the God-of

the-Temple who attained concrete form in the temple, and who was the

Son of the Earth.

In antiquity, the practice of animating temples, bas reliefs, and

statu es was conceived of as both an art and a science. In its scientific

aspect, the art of animating statues drew upon the ancient canon of

proportion, itself based on th ose ubiquitous geometrical ratios which

underlie the forms of nature and the unfolding patterns of life. In the

Laws 6560, Plato refers to the canon of mu sic and proportion which

maintained the integrity of Egyptian art for no less than ten thousand

years. As Plato writes,

If you inspect their paintings and reliefs on the spot, you will find that the

work of ten thousand years ago--I mean the expression not loosely but

in all precision-is neither better nor worse than that of today; both

exhibit an identical artistry.

The ultimate origins of the canon remains mysterious; evidence of

its use is very early. Plato concluded that it "must have been the doing

of a god, or a godlike man-s-as, in fact, the local tradition is that the

melodies which have been preserved for so many years were the work

oflsis."

SCIENCE Al'ID ART

The existence of such a canon is cal

archaeologists and universally accepted

were two Egyptian canons: the earliestdi

being into I9 squares; the later canonw

squares. These canons provided a frarr

wh en rendering the human form andtht can deny th e existence of thecanon, forin

is sti ll visible on surviving temple walls.

Egyptian canon was taken over by the ea

tors, as has been shown by the studie

Guralnick.' Despite the acceptance of the useof ill,

art, few Egyptologists have any awarenes

ratios and proportional schemes thatwer

tian art. One such geometrical proporticj Golden Section. In this article, I will shl incorporated into the design of a basrei

canon of 19 squares. This bas reliefdepi

B.C.E.) facing a goddess, and is plate4 j

Proportions in Egyptian Art. Wh ile Iverse

of the canonical grid system, he fails todi

and canonical ratios in Egyptian art,'

T he "Divine Proportion"

The so-called Divine Proportion, Gal

one of the most ubiquitous ratios foundin

spacing of seeds on a sunflower, the dis

various forms of natural spirals, and theI

is generally associated with the principl

ematically speaking, it is defined as (~5

cont rolling ratio ofthe pentagon andisals

square, whose diagonal is -VS. Earlierin

phi ratio or cP, named after Phidias, the

for the colossal Athena in the Partheno

97 :LER

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SCIENCE AND ART

The existence of such a canon is confirmed by the research of archaeologists and universally accepted by all Egyptologists. There were two Egyptian canons: the earliest divided the height of a human being into 19 squares; the later canon was based on a division of 22 squares. These canons provided a framework for Egyptian artists when rendering the human form and the form s of the gods . No one candeny the existence ofthe canon, for in some instances the gridwork is still visible on surviving temple walls. Interestingly, the 19-square Egyptian canon was taken over by the early Greek artists and sculp­tors, as has been shown by the studies of archaeologist Eleanor Guralnick.J

Despite the acceptance of the use of the canonical grid in Egyptian art, few Egyptologists have any awareness of the types of geometrical ratios and proportional schemes that were widely employed in Egyp­tian art. One such geometrical proportion is th e so-called phi ratio or Golden Section. In this article, I will show how this proportion was incorporated into the design of a bas relief that is also based on the canon of 19squares.This bas reliefdepicts Arnenophis III (13 91- 13S 3 S.C.E.) facing a goddess, and is plate 4 in Erik Iversen 's Canon and Proportions in Egyptian Art. While Iversen's work is an excellent study of the canonical grid system, he fails to discuss the use of the dynamic and canonical ratio s in Egyptian art. "

T he "Divine Proportion" T he so-called Divine Proportion, Golden Section, or phi ratio is

one of the most ubiquitous ratio s found in living forms . It controls the spacing of seeds on a sunflower, the distribution of leaves on plants, various forms of natural spir als, and th e ratios of the human form . It is generally associated with the principle of gnomic growth. Math­ematically speaking, it is defined as (-VS+1 )12 = 1.618034... It is the controlling ratio of the pentagon and is also associated with the double square, whose diagonal is -VS. Earlier in this century it was entitled the phi ratio or cP, named after Phidias, the Greek sculptor who is famou s for the colossal Athena in the Parthenon and the colossal Zeus at

98 DAVID FIDELER

Olympia, one of the seven wonders of the ancient world.

The simplest way to generate the phi ratio is shown in Figure 1. This technique produces a Golden Rectangle, which can be infinitely continued into a series of"whirling squares." These squares are linked

with one another in continuous geometrical proportion (in Greek, analogia) which embodies the ratio <t>.

The ancient Greeks referred to <t> as "the extreme and mean division of a line" (Euclid 6.30), which is the unique property of this propor­tion. In other words, the smaller division is to the larger division as the larger division is to the whole: .618 is to 1 as 1 is to 1.618.

In Figure 2 we see how <t> is related to the geometry of the pentagon.

Here, if length AB =1, then Be =<t>.

A useful method for dividing any line segment at the <t> division is illustr ated in Figure 3.

Figure 4 shows a well known property of <t> in relation to the proportions ofthe human body: while the height of the body is divided

in halfby the genitals, the position ofthe navel indicates the <t> division. The <t> ratio possesses many unique and magical properties. For

example:

<t> + 1 = <t>2 or 1.618 + 1 = 1.6182 or 1.618 x 1.618 = 2.618

<t> x (<t> - 1) = 1 or 1.618 x (1.618 - 1) = 1 or 1.618 x .618 = 1 <t>2 x(<t>-1)2=1

<t>2 + (<t> - 1)2 = 3

In the Renaissance, Luca Pacioli wrote a book about the Golden Section entitled The Divine Proportion, a work illustrated by Leonardo

da Vinci. According to Pacioli, the phi ratio is "divine" for five reasons:

1)Like God , it is unique; 2) As the HolyTrinity is one substance in three

persons, so the Section is one proportion in three terms; 3) As God

cann ot be defined in words, the Section cannot be described by any

number or rational quality because it is irrational and, hence, occult and

secret; 4) Like God, it is always similar to itself; 5) As celestial virtue or

SCIENCE AND ART

Figure 1.

The construction of a Golden Rectangle from aSql

of C/>, 1.618034...

99 FIDELER

e1.This nfinitely :elinked L Greek,

division propor­mas the

:ntagon.

visron is

L to the :divided livision. ies. For

8 = 1

Golden eonardo reasons:

:in three

lAs God

1by any

xult and

virtue or

SCIENCE AND ART

IE

K ----~)kIf_-, 6 1 8 0 34 ..,~

1 -,

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, ,, ..

,., ,

Figure 1.

The construction of a Golden Rectangle from a square brings out the proportion of<1>, 1.618034...

100 DAVID FIDE LER

B C

Figure 2. Phi as the Controlling Ratio of the Pentagon

If length AB = 1, then Be =q, = 1.618.034

Figu re 3. Phi and the Location of the Navel

SCIENCE Al'ID ART

1/2 AB

Figure 4. Technique for Cutting Any

To cut any line AB at me phi division, erectapel end of me line, and connect to meopposite end. divide me line at me phi division, so that lie sm. me larger part is to me whole.

quintessence has made possible the creatil

which th e whole of nature was made, so

possible th e constru ction of lie dode

co mplex Platonic solid and the epitome

Analysis of the Bas Relief As I studied the bas relief in Iversen's

th ere was more more going on in the piec accou nt for . For example, there seems to presen t between the goddess and the p

Additionally, th e hair of the goddess w

obviously one unit wide. Wh y, then, didn th e goddess and the similarly positione

pe rfectly align with the grid? It certainlj com position.

101 SCIENCEAJ.'\TD ART

112 AB

Figure 4. Technique for Cutting Any Line at the Phi Division

To cut any line AB at the phi division, erect a perpendicular that is 1/2 AB at the endof the line, and connect to the opposite end. Arcing the compass as shown will divide the line at the phi division, so that the smaller part is to the larger part as the larger part is to the whole.

quintessence has made possible the creation of th e four elements out of

which the whole of nature was mad e, so the Divine Proportion makes

possible th e con struction of th e dodecahedron, the fifth and mo st

complex Platonic sol id and the epitome of qu intessence.

Analysis of the Bas Relief As I studied the bas relief in Iversen 's book, it became obvious that

there was more more going on in the piece than the square grid would account for . For example , there seems to be a mysterious symmetry present between the goddess and the pharaoh as gaze meets gaze. Additionally, the hair of the goddess which falls down her front is obviously one unit wide. Why, then, didn't the arti st make the hair of the goddess and the similarly positioned headdress of Arnenophis perfectly align with tlle grid? It certainly would have simplified the composition.

If we superim pose a double square on both the goddess and Arnenop his as shown in Figure 5 and 6, we can begin to see th e geo metrical reciprocity between th e two figures. The diagonal of the doubl e square is ";5, the roo t of1>, and th e eyes of th e two figures are clearly positioned at th e apex of th e resulting triangles.

In Figure 7, we see how the 1> ratio determines the placement of th e navel on the pharao h.

Figure 7.

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103 DELER

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SCIENCE AND ART

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104 DAVID FIDELER

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Figure 8 illustrates the underlying ratio which determines th e placement of the goddess' hair and the pharaoh 's headdress. They are positioned by reference to a "double sided" Golden Rectangle which has the proportion of l: v5.

Figure9 shows a larger v5rectangle based on the doubl e squares of Figures 5 and 6.

In Figure 10 the two previous geom etri es are combined, with the armbands highlighted. T he phi rati o controls the placement of every arm band in the composition!

Figures 11 and 12 show the precise harmonic division of a square based on the phi ratio. The phi ratio determines th e placement of the arm bands. In Figure 12 this square is centered on th e ankh which is being carri ed by th e pharaoh. The ankh is the Egyp tian hieroglyph which den otes the unfolding principle of life.

SCIENCE AND ART

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105 )ELER

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SCIENCE A1',TD ART

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Figure 10.

106 DAVID FIDELER SCIENCE AND ART

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107

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SCIENCE AND ART ELER

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108 DAVID FIDELER

T he Meaning of the Composition This particular bas relief, controlled by the geometrical forming

principle of cP, is not a unique occurrence; it is a specific instance of a widespread practice and tradition which has rarely been studied by professional Egyptologists. In very ancient times, the scribes, artists, priests, and temple architects were trained about the nature of geometrical forming principles, which they applied to their work. Considering the fact that such training is not readily available, it is no wonder that the old tradition is in most respects unknown to contem­porary archaeologists.

The bas relief we have examined, dating back some 3,300 years, is clearly structured on the accepted canon of 19 squares. However, the 19-square grid is not a true canon ofproportion, but a canonical rule of thumb that was used in Egyptian art. True proportion involves the use of ratio, and one of the most dynamic ratios is the Golden Section, reflected in the process ofunfolding life. Students of geometry draw a distinction between the principles ofstatic and dynamic symmetry. 5

The square grid is useful but static; the phi grid is dynamic and brings the piece to life.

In this composition, a window opens onto the true nature of the ancient proportional canon and its employment in the science of animatingstatues. The square grid represents the body or raw materia of the composition; the phi ratio is the animating principle which brings it to life. In the same way that the universe is a harmonic union ofspirit and matter, so too did the Egyptians reflect this understand­ing in their temple art. As we can see in Figure 12, the phi geometry seems to emanate from the ankh, the symbol of life, this is reinforced by the emanating lines on the pharaoh's ritual apron. From this we conclude that the Egyptians consciously understood the relationship between the phi ratio and the patterns of unfolding life.

Ancient art, at its highest, embodied scientific realizations and reflected a far more inclusive world-view than most individuals can imagine in the contemporary world. There is also a magical dimen­sion to the old view which transcends reductionistic description. The

SCIEN CE AND ART

entire culture of ancient Egypt, for exar the temple and the invocation of the gc symbolic role within the frameworkofE was seen as the personification oftheIdea image of God. In the words of the Hem

the man who, in virtue of the Mind tl

is akin to th e gods , has attached hirns

becomes like the gods .. .

It is for reasons such as these,Asdel

an animal worthy of our worshipand

attributes of a god, as though he hims

In our bas relief, a god gazes into theeye ( the god. The god welcomes the mortal" The pharaoh has become agod andismor are thus reciprocally entwined, mirrorin images ofone life. This reciprocityberwe worlds-the interpenetration ofspiritani

depicted the gods in human form. AsHei

tal becomes mortal, the mortal irnmorts

death and dying in the other's life." True art is always rooted in asacred vis

divine role ofhumanity as the living ims] the phenomenon of humanity that consc

terious Light of Nature, becomes cog meaning. Thus, in the traditionalview, ht pivot of an alchemical drama which is00

Through creativity, harmony, and an, spirit. Man thereby affirms his essential and life, and as the ultimate mediator be sites .

109 LER

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SCIENCE A1'<"'D ART

entire culture of ancient Egypt, for example, was structured around the temple and the invocation of the gods. The pharaoh fulfilled a symbolic role within the framework of Egyptian cultural alchemy; he was seen as the personification ofthe Ideal Man, humanity made in the image of God. In the words of the Hermetic tractate,

the man who, in virtue of the Mind that is in him , through which he

is akin to the gods , has att ached himself to them by pious devotion,

becomes like the gods ...

It is for reasons such as these, Asclepius , man is a mighty wonder­

an animal worthy of our worship and our respect. Man takes on the

attributes of a god, as though he himsel f were a god ...6

In our bas relief, a god gazes into the eye ofa mortal; the mortal meets the god. The god welcomes the mortal with a gesture of acceptance. The pharaoh has become agod and ismortal no more. God and mortal are thus reciprocally entwined, mirror images ofone another, mirror images of one life. This reciprocity between the divine and the human worlds- the interpenetration of spirit and matter-is why the Greeks depicted the gods in human form. AsHeraclitus wrote, "The immor­tal becomes mortal, the mortal immortal, each living in the other's death and dying in the other's life."

True art is always rooted in a sacred vision of life which affirms the divine role of humanity as the living image of God. It is only through the phenomenon of humanity that consciousness or Mind, the mys­terious Light of Nature, becomes cognizant of its existence and meaning.Thus, in the traditional view, humanity is seen as the central pivot of an alchemical drama which is occurring on a universal scale. T hrough creativity, harmony, and art, matter is transformed into spirit. Man thereby affirms his essential nature as a creature of light and life, and as the ultimate mediator between all perceivable oppo­sites.

110 DAVID FID ELER

Notes 1. Asclepius 38

2. Asclepius 3t. 3. See, for example, her articl e "Proportions ofKorai,"AmericanJournal of

Archaeology 85 (1981), 3, 269-80.

4. Eri k Iversen, CanonandProportions in EgyptianA rt. Second edition, fully

revisedin collaboration with Yoshiaki Shibata (Warminster: Aris and Phillips,

19i5).

5. For examples of dynamic symmetry seeJay Hambridge , The Elementsof

DynamicSymmetry (New York: Dover, 196i) jMatil a Ghyk, The Geometry of

Art and Life (New York: Dover, 19ii); Jay Hambridge, DynamicSymmetry:

The Greek Vase (New Haven: Yale University Press, 1920). For an excellent

introduction to geom etrical forming principles,which contains a remarkable

analysis of the phi ratio as the basis of an Egyptian Osiris temple, see Robert

Lawlor, SacredGeometry: Phi/osop~and Practice (London: T hames & Hudson,

1982). For more on phi , see H. E. Huntley, The Divine Proportion: A Study in

MathematicalBeauty (New York: Dover, 19iO).

6. Asclepius 5-6

"Matrix ofe

Drawing with compass

III