Nature’s Elegant Ratio and the Canon of the Human Body

With Scott Olsen, Ph.D and Lance Harding Ph.D

The foundation principles of Sacred Geometry and the advanced practise of the Canon of the Human Body will be covered in this 4 day workshop. Nature will reveal a stunning system of elegant aesthetic delights to those who know how to approach her. The Golden Section appearing at the center of it all may be the foundation of the most beautiful ratio in Nature, and the very bond that holds everything together through ratio, resonance and self-similar harmony at all levels. There is a special evening lecture about the New Renaissance.

The Elegant Principles of Design

Nature will reveal a stunning system of elegant aesthetic delights to those who know how to approach her. The Golden Section appearing at the center of it all may be the foundation of the most beautiful ratio in Nature, and the very bond that holds everything together through ratio, resonance and self-similar harmony at all levels. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it The Golden Section is the root source of Nature’s Eurhythmic Principles of Design. The beauty, wisdom and pervasiveness of this golden mean will be demonstrated by Scott and Lance. The Golden Section provides the means for our progressive unfoldment into higher states of consciousness in what the ancients referred to as initiation into the mysteries. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it There is a visual presentation and discussion with Scott and Lance.

Lecture Topic: Divine Proportion & the New Renaissance

The dominance of the Deccan Prosperity is taking the world of both science and aesthetic by storm. On January 7, 2010, teams of physicists from England and Germany reported their observation of the Golden Section as the principle of symmetry at the heart of quantum mechanics. The underlying role of a golden section centered system of morals will be examined in a visual presentation and discussion.

It seems to be central to PHYSICS (winding number, fine structure constant, quark mass), the PERIODIC TABLE OF ELEMENTS, biology, and computer technology. The underlying MATHEMATICS OF HARMONY is being recognized by many scholars, scientists, aestheticians and leading thinkers. There is a new renaissance in consciousness studies, the sciences, and the arts. The same golden principle is at the center of both beauty and effectiveness in all fields.

Principles of Sacred Geometry: Theory & Practice

Scott and C. Lance are both PHDs. Both 2-day workshops will be led by OLSEN and HARDING. Both plane and solid geometry can be learned from the drawings and constructions taught by the long-time students. We will look at the seven transformational (infinite and irrational) numbers of sacred geometry. The basics and application of the Vesica Pisces will be explored. The significance and application of the Greek mean proportions will be discussed. Participants will learn about the role of the Golden Section and Lucas numbers in nature and principles of design.

The principles of Sacred Geometry will be covered in this workshop. It will be a great introduction for anyone with experience or new to the field. It will be an extension of important new insights for anyone already familiar with geometric drawings and constructions. The basic Pythagorean/ Platonic insights of the most profound Ancient Wisdom will be integrated into the workshop. The use of the Golden Chalice Design template will be introduced. Participants will be thoroughly grounded in both geometric drawings and 3-dimensional model constructions. Prerequisites will be provided in the 1st workshop to get the most out of the 2nd workshop.

Course outline

Day 1

1. VISUAL BACKGROUND: PYTHAGOREAN & PLATONIC TRADITION; DIVIDED LINE; PLATO’S GREAT MYSTERY IN THE TIMAEUS
2. FOUNDATIONAL DRAWINGS: BASIC POLYGONS – TRIANGLE, SQUARE, HEXAGON, PENTAGON, VESICA PISCIS, OCTAGON, DECAGON, & DODECAGON
3. ROOT & GOLDEN RECTANGLES
4. THE SEVEN TRANSFORMATIONAL NUMBERS (INFINITE & IRRATIONAL)
5. FIBONACCI AND LUCAS NUMBERS: NATURE’S METHOD OF DIVINE PROPORTION
6. MEASUREMENTS OF PARTICIPANTS (VOLUNTARY)
7. PRIMER ON RATIO, PROPORTION & APPLICATION OF THE THREE GREEK MEANS: ARTITHMETIC, HARMONIC & GEOMETRIC

Day 2

1. VISUAL INTRODUCTION: THE NEW GOLDEN PARADIGM: HOW IT MANIFESTS THROUGHOUT NATURE & THE COSMOS
2. APPLICATIONS OF THE GOLDEN MANDALA, RECTANGLE OF GENESIS & VESICA PISCIS
3. THE GOLDEN CHALICE OF ORION: WORKING WITH THE DESIGN TEMPLATE AS A TOOL THAT INTEGRATES and
4. RESULTS OF MEASUREMENTS
5. VISUAL INTERLUDE: MATHEMATICS OF HARMONY & THE GOAL OF EUCLID’S ELEMENTS
6. CONSTRUCTING GEOMETRIC SOLIDS: 5 PLATONIC (REGULAR) & 13 ARCHIMEDEAN (SEMI-REGULAR) SOLIDS
7. OVERVIEW & SUMMATION OF THE PRACTICAL APPLICATIONS OF HARMONY MATHEMATICS

Day 3

Theory and practice of advanced principles of sacred geometry and the canon of human prophecy. The ideal Canon of the Human Body will be our focus. Participants will become familiar with canons from ancient Egypt, as well as Greek and Roman canons, Byzantine Christian, Medieval and Modern canons. We will examine and use individual canon studies from Vitruvius, Leonardo da Vinci, Cesariano, and two drawings of man in the square and man in the circle. We will study the application of the Golden Mandala to various historical works of art and design, as well as the construction of the Golden Chalice of Orion in one very practical design template.

The workshop participants should bring a sketchpad, straight-edge, good pair of compasses, pencils (regular & colored), and/ or pens, sharpener & eraser, transparency paper, masking tape and scissors. Extra compasses, straight-edges and pencils will be available. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it The Canons of Human Proportion are very sacred and will be covered in this advanced workshop. These secrets were revealed in the halls and temples of the ancient mystery traditions. On the penalty of death, it was forbidden to reveal these revelations. We will weave together what we know of these ancient mystery schools and the deep insights and epiphanies engendered into the secret number. Understanding the human canon allows one to know the Universal Canon because the whole Universe is enfolded into each part. You will want to attend this workshop.

1. ESOTERICA 1. SACRED GEOMETRY & INITIATION INTO THE EGYPTIAN & ELEUSINIAN MYSTERIES
2. TWO CANONS OF EGYPTIAN PROPORTION
3. POLYCLITUS & THE GREEK CANON OF PROPORTION
4. VITRUVIUS THE INITIATE: 10 MEASUREMENTS OF MAN IN THE SQUARE AND CIRCLE
5. THE RENAISSANCE: THE CENTRAL ROLE OF LUCA PACIOLI’S DIVINA PROPORTIONE
6. CESARIANO, DURER & LEONARDO DAVINCI’S VITRUVIAN MAN
7. ESOTERICA 2. THE SECRETS OF SYMMETRY & ASYMMETRY: DEEP INSIGHTS FROM SCHWALLER DE LUBICZ’S THE TEMPLE OF MAN, AND THE MAHATMA LETTERS IN THE BRITISH LIBRARY

Day 4

1. ESOTERICA 3. HOLOGRAPHIC UNIVERSE, FRACTALIZATION & THE GOLDEN SCIENCES
2. THE CANON OF PROPORTION OF FATHER DESIDERIUS LENZ
3. THE PHI CANON OF ADOLF ZEISING
4. LE CORBUSIER AND THE PHI MODULAR
5. MODERN CANONS OF KEITH CRITCHLOW & PAUL RICHER
6. ESOTERICA 4. THE ESOTERIC TETRAKTYS, AND GEORGE HENRY FELT & THE ROOTS OF THEOSOPHY
7. ESOTERICA 5. DIVINE PROPORTION: RESONANCE, MICROTUBULES AND THE GREAT MYSTERY OF CONSCIOUSNESS & ITS TRANSFORMATION

The workshop participants should have a sketchpad, straight-edge, good pair of compasses, pencils, sharpener, transparency paper, masking tape and scissors. Natures greatest secret is the Golden Section.

Scott A. Olsen, Ph.D.

Scott is a professor of philosophy and comparative religion at the College of Central College. His book, The Golden Section: Nature’s Greatest Secret, received rave reviews and was awarded a 1st place for design by the Bookbinders’ Guild of New York. He is a life-long student of the Ancient Wisdom and has studied under many people. As a member of the Theosophical Society of America, Scott lectures on the Perennial Philosophy in both its ancient and modern forms with special emphasis on theDivine Proportion and transformative states of consciousness.

C. Lance Harding, Ph.D.

A native of Utah, graduated from The Prince’s School of Traditional Art in London and studied with JohnMichell. The Man in the Square and Circle was illustrated by Leonardo da Vinci and Dr. Harding is an expert in Sacred Geometry.

Study References with Scott

Ahead of time, participants in our workshops should listen to these interviews. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it Scott is writing a book. You can listen to the lecture: The Golden Section and the Roots of Theosophy online at a recent talk and sacred geometry workshop at the Theosophical Society in America.

The interview with Scott Olsen with Gnostic Media was highly praised for its content. It can be accessed online. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it Scott Olsen solved the Divided Line problem and created a template that derives the square root of 2 and the square root of 3 from the Golden Section. The title is The Indefinite Dyad and the Golden Section.

Scott’s and Lance’s workshop will draw from the following 4 areas of expertise:

There is a segregating GEOMETRY. Geometric drawings and 3D constructions from which one can derive an exhilarating alignment and attunement with the aesthetic principles of the Cosmos is what we will do. We will look at the ratios and proportions developed through the golden mean, root 2, root 3, root 5 and the Lucas numbers. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it I. ANCIENT WISDOM (PERENNIAL PHILOSOPHY) The Pythagorean/ Platonic traditions adapted this knowledge from the teachings of the ancient mystery schools. We will look at how these traditions understood the mystery of the sacred numbers which were hidden. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it I. There are states of consecration. We will look at how we are hardwired to experience changes in consciousness. Students will see how the numbers can lead to peak experiences, and more complete stages of self-identity, fulfillment and inner contentment with life, if they understand the hologram presence of the entire Cosmos. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it I. IV. There is a practice of analyzing nature. Nature has elegant numbers from top to bottom, down through the Solar System, down into the DNA, clathrins, and even the quar. The Hermetic self-similarity at all levels will be shown in the grand scheme of things. Students will look at the employment of these numbers in stone circles, tombs, temples, pyramids, sculpture, paintings, and music. As we undergo in-class measurements to observe how each one of us expresses the sacred ratios and proportions in our bodies, we will consider canons of human proportion. We will consider templates and golden calipers so that we can take our wisdom with us for practical application in the future.

Canons of proportion

An ideal of a beautiful body is the object of a canon of human proportions. The aesthetic assumption implicit in the use of such canons is that by reproducing the proportions of a beautiful living body and transferring them to stone or bronze, there will be some compensation for the distortions of optical. The carpenter stretched out his rule by using a line and planes to fit it with a compass and market it after the figure of the figure.

Vitruvian Man: Leonardo da Vinci

Leonardo da Vinci made notes about the drawing in one of his journals. A naked male figure in two superimposed positions with his arms apart is circumscribed in a circle and square. The Canon of Proportions is the name of the drawing and text. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it The drawing is 34.3 x 24.5 cm and is in pen, ink, and watercolor. It is in the collection of the Accademia in Venice. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it It was made as a study of the proportions of the male human body according to Leonardo’s notes in the accomanying text.

• a palm is the width of four fingers
• a foot is the width of four palms
• a cubit is the width of six palms
• a man’s height is four cubits (and thus 24 palms)
• a pace is four cubits
• the length of man’s outspread arms are equal to his height
• the distance from the hairline to the bottom of the chin is one-tenth of a man’s height
• the distance from the top of the head to the bottom of the chin is one-eighth of a man’s height
• the distance from the hairline to the top of the breast is one-seventh of a man’s height
• the distance from the top of the head to the nipples is one-fourth of a man’s height
• the maximum width of the shoulders is one-fourth of a man’s height
• the distance from the elbow to the tip of the hand is one-fifth of a man’s height
• the distance from the elow to the armpit is one-eight of a man’s height
• the length of the hand is one-tenth of a man’s height
• the distance from the bottom of the chin to the nose is one-third of the length of the face
• the distance from the hairline to the eyebrows is one-third of the length of the face
• the length of the ear is one-third of the length of the face

The rediscovery of the mathematical proportions of the human body in the 15th century by Da Vinci and others is considered one of the great achievements of the Italian Renaissance.

The drawing is an implied symbol of the essential symmetry of the human body and the universe as a whole, whether by mathematical order or intelligent design.

There are four different poses created by the combination of arm and leg positions. The pose with the arms straight out and the feet together is seen to be circumscribed in a square. The spread-eagle pose is seen to be circumscribed in the superimposed circle. In the shift between the two poses, the apparent center of the figure seems to move, but the true center of gravity remains motionless.

The Vitruvian Man

According to the architect, 4 fingers make 1 palm, 6 fingers make 1 foot, and 4 fingers make a man’s height. 4cubits and 24 palms make a man. The length of a man’s arms is the same as his height. From the bottom of the chin to the top of the head is the tenth of a man’s height, while from the top of the breast to the roots of his hair is the seventh. The fourth part of man will be the nipples to the top of the head. The fourth part of man is contained in the greatest width of the shoulders. From the elbow to the tip of the hand will be the fifth part of a man, and from the elbow to the angle of the armpit will be the eighth. The tenth part of the man will be the hand. The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is the same as the distance from the ear. There is a text from The Notebooks of Leonardo da Vinci. The book is part of a 2 vol. set in paperback.

Leonardo’s vitruvian man

We don’t know a lot about Leonardo’s apprenticeship in Verroccio’s workshop, but the short account provided by Vasari confirms that it included architectural and technological design. Leonardo had access to Alberti’s andVitruvius’ treatises and produced his own version of the man.

The circle and square image on top of each other are different from others in that they form one image. A key adjustment was made that others had not done.

Leonardo’s famous drawings of the Vitruvian proportions of a man’s body first standing inscribed in a square and then with feet and arms outspread inscribed in a circle provides an excellent early example of the way in which his studies proportion to artistic and scientific objectives. Leonardo pointed out that if you open the legs so as to reduce the stature by one-fourteenth and open and raise your arms so that your middle fingers touch the line through the top of the head, know that the centre of the extremities. One of his simplest illustrations is a shifting centre of magnitude without a corresponding change of normal gravity. This goes through the central line from the pit of the throat to the umbilicus and pubis between the legs. Leonardo distinguishes the two different centers of a body.

The idea of proportional beauty refers to a relationship between the parts of an object, such as a building or a body. It has been linked to the idea of harmony. Leonardo thought about a universal harmony of proportion in particular things as an intellectually apprehensible reflection when he wrote about the beauty of a beautiful face. This view was a general one until the 17th and 18th century, when it became more subjective. Plotinus said that visible beauty is produced by symmetry of the parts towards each other and towards the whole. 6). If beauty consists in the proportion of the parts, the simple parts of a beautiful object can’t be beautiful. He argues that the idea of proportion can’t be extended to moral and intellectual beauty. There is a man named Thomas Aquinas. Due proportion or harmony is one of the three ingredients needed for beauty. There is an extension to the mathematical idea of proportion that can be seen in the definition of the Trinity as three persons co-ordinate in a marvellous harmony, the Son being the image of the Father and the Holy Ghost the link between them. Alberti, who believed that beauty depended on a rational order, admitted that there are some who say that men are guided by a variety of opinions in the judgement of beauty. Drer, who worked out more systems of proportion than any other artist, told how he heard of a canon of ideal human proportion from Jacopo de’Barbari and from this and Vitruvius.