Stefan Arteni

STEFAN ARTENI
Perspective as Form and Medium

and
the Interplay of Proportion Systems
and Perspective
VI
SolInvictus Press 2006

Plane Symmetry Groups
…there are three classes of discrete subgroups of Euclidean group
E2. The first is the class of discrete subgroups of E2 without
translations - the symmetry groups of rosettes. This class is infinite.
The second class contains the groups with a translation subgroup
generated by one single translation - the symmetry group of friezes.
That class contains 7 non-isomorphic symmetry groups. The third
class are the wallpaper groups. Their translation subgroup is
generated by two independent translations, and this class contains 17
non-isomorphic groups.
Ana Kozomara
DISCRETE PLANE SYMMETRY GROUPS
http://members.tripod.com/vismath1/ana/ana3.htm
Variations of the Sun symbol (Paleolithic, The rosette with the
Neolithic and Bronze Age) symmetry group D4 (4m)
occurring in Paleolithic art
Examples of Symmetry Groups of Rosettes G20

Slavik Jablan
http://www.emis.de/monographs/jablan/chap21.htm
Formation of rosettes with the symmetry group The cross motif - rosettal
D2 (2m) by a superposition of rosettes with the symbol with the symmetry group
symmetry group D1 (m) (Paleolithic, France). D1 (m), D2 (2m) or D4 (4m).
Examples of rosettes
with the symmetry
group D1 (m)
(Paleolithic, France and
Spain).

Slavik Jablan
Examples of rosettes of the type Cn (n) and Dn (nm) in the Neolithic ceramics of
Middle Asia: (a) C4 (4); (b) C6 (6); (c) C5 (5); (d) D4 (4m); (e) C4 (4); (f) D4 (4m);
(g) C4 (4) ((a)-(d), (g) Samara; (e), (f) Susa; around 5500-5000 B.C.).

Slavik Jablan
Examples of rosettes of the type Cn (n) and Dn (nm) in the Neolithic
ceramics of Middle Asia (Susa, Hacilar, Catal Hüjük, Hallaf, Eridu culture),
around 6000-4500 B.C. (7500-5000 B.C.?).

Slavik Jablan
Examples of antisymmetry rosettes with the
antisymmetry group D8/C8, that in the classical
theory of symmetry are treated as rosettes with
the symmetry group C8 (8) (Hajji Mohammed,
around 5000 B.C.).

Slavik Jablan
Antisymmetry rosettes in Neolithic ornamental art: (a) D4/D2,
Danilo, Yugoslavia, about 3500 B.C.; (b) D6/D3, Near East;
(c) D4/D2, Near East; (d) D4/C4, Middle East; (e) C8/C4, Middle
East; (f) C4/C2, Dimini, Greece

Slavik Jablan
Variations of the (a) Chinese symbol "yang-yin"
with the symmetry group C2 (2) and (b) the
triquetra motif with the symmetry group C3 (3).

Slavik Jablan
Roman Taddeo di Bartolo, map of Rome
mosaic
Symmetry Groups
of Friezes
Slavik Jablan
[http://www.emis.de/monographs/
jablan/chap23.htm]
Examples of friezes with the symmetry
group 11 in Paleolithic art.
Examples of friezes with the symmetry group

11 and the formation of geometric ornamental
motifs by stylization and schematization of
natural models (Paleolithic).
Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

group 11 in Neolithic art (Hallaf ceramics,
around 5500-4500 B.C.).

group 1g in the Neolithic art of Yugoslavia:
(a) Butmir, around 3500 B.C.; (b) Adriatic
zone, around 3000-2000 B.C.

group 1g in the art of the late Paleolithic
and early Neolithic (Fontarnaud-
Lugasson, Laugerie Haute, Le Placard,
Marsoulas, around 15000-8000 B.C.).

Examples of friezes with the symmetry group 12 in
Paleolithic and Neolithic art: (a) Mezin, USSR, around
12000-10000 B.C.; (b), (c) the Neolithic of Europe;
(d), (e) Hacilar, around 5300 B.C.
Examples of friezes with the symmetry group 12:

(a) Bakun, Iran, around 5000-4000 B.C.; (b) Malta,
around 3000 B.C.; (c) Crete, around 3000-2500 B.C.

Friezes with the symmetry group
12 in the Neolithic art of
Yugoslavia: (a) Aznabegovo-
Vrshnik, around 5000 B.C.;
(b) Hvar, around 2500 B.C.
Examples of friezes with the

symmetry group 12 in the Friezes with the symmetry group 12 with the
pre-Columbian art of America application of spiral motifs: (a) Neolithic art,
(Mexico). Butmir, Yugoslavia; (b) Egypt.
Examples of friezes with the symmetry The formation and development of
group m1 in the late Paleolithic friezes with the symmetry group m1,
(Magdalenian) and early Neolithic. with the "kolo" motif, in prehistoric art.
Examples of friezes with the symmetry group m1 in Neolithic art: (a) Hallaf,
around 5000-4500 B.C. The initial motif, the stylized head of a bull is similar to
the Egyptian symbol "ankh"; (b) Hallaf; (c) Crete. The motif of double ax,
"labris", was very often used in early Greek ornaments.

Examples of friezes with the symmetry Examples of friezes with the
group 1m in Paleolithic art: (a) l'Abri symmetry group 1m in Neolithic
Mege; (b) La Pasiega; (c) Marsoulas. art, around 6000-3000 B.C.
Friezes with the symmetry group 1m in Paleolithic art (Maz d'azil, La Madlene,
Barma Grande, Laugerie Base, around 10000 B.C.).

Examples of friezes
with the symmetry
group mg in
Paleolithic art.
Examples of friezes with the

symmetry group mg in Neolithic
art: (a) the early Neolithic of
Europe; (b) Catal Hüjük, around
6400-5800 B.C.; (c) Hallaf, around
6000 B.C. (7600-6900 B.C.?);
(d) Hasuna, Iraq;
(e) Magelmose, 7500-6500 B.C.;
(f) Pakistan around 3000 B.C.;
(g) the pre-dynastic period of
Egypt, around 4200-3600 B.C.
Slavik Jablan
http://www.emis.de/monographs
/jablan/chap24.htm
Examples of friezes with the symmetry group mg: (a) Eynan, Palestine, around
10000 B.C.; (b) Aznabegovo-Vrshnik, Yugoslavia, around 5000 B.C.; (c) Naqda
culture, the pre-dynastic period of Egypt; (d) Mycenae.

Friezes with the symmetry
group mm in Paleolithic art.
Friezes with the

symmetry group
mm in the
Paleolithic
(Magdalenian,
around 10000 B.C.)
and Neolithic.
Slavik Jablan
http://www.emis.de/monographs
/jablan/chap24.htm
Friezes with the symmetry group mm
often symbolize an even flow of time,
years and similar phenomena with a
high degree of symmetry. It is
interesting that in such cases time is
considered as non-polar.
Antisymmetry friezes in Neolithic ornamental art:

Examples of friezes in the ethnical art, (a) 11/ 11, Greece, around 3000 B.C.; (b) 12/12,
that possess precise symbolic Greece; (c) 12/11, Near East, around 5000 B.C.;
meanings and the corresponding (d) 1m/1m, Near East, around 5000 B.C.; (e) 1m/ 11,
Near East; (f) 1m/11, Anadolia, around 5000 B.C.;
names: (a) "Up and down", "The Sun", (g) m1/m1, Near East; (h) m1/11, Near East;
Water", "Breathing"; (b) "The rhythm of (i) mg/11, Greece; (j) mg/ 1g, Near East, around
water" (Congo); (c) The Sun above and 5000 B.C.; (k) mg/12, Anadolia; (l) mm/mm, Tell el
Hallaf, around 4900-4500 B.C.; (m) mm/m1, Hacilar,
below water (horizon)" (Pueblo Indians); about 5500-5200 B.C.; (n) mm/mg, Near East.
(d) "Days of the full Moon" (Celebes);
(e) “Endless running of the years" Slavik Jablan
(Celebes); (f), (g), (h) "The continual www.emis.de/monographs/jablan/cha
motion of the Sun" (Fiji). p24.htm
Wallpaper symmetry groups (plane symmetry groups
or plane crystallographic groups): visual representations
p1
p2
pm
Xah Lee
http://xahlee.org/Wallpaper_dir/c5_17WallpaperGroups.html
pg
pmm
pmg
Wallpaper symmetry groups

Xah Lee
pgg
cm
cmm

Xah Lee
p4
p4m
p4g

Xah Lee
p3
p3m1
p31m

Xah Lee
p6
p6m

Xah Lee
Symmetry Groups
of Ornaments G2
In the plane E2 there are 17 discrete symmetry
groups without invariant lines or points, the
crystallographic symmetry groups of ornaments:
p1, p2, pm, pg, pmm, pmg, pgg, cm, cmm, p4,
p4m, p4g, p3, p3m1, p31m, p6, p6m, two
visually presentable symmetry groups of
semicontinua p10 1m(s1m), p10mm (smm) and
also one visually presentable symmetry group of
continua p00∞m (s∞∞)…A plane continuum with
the symmetry group p00∞m ( s∞∞) represents
the area where all the other plane symmetry
groups exist…also visually presentable are the
symmetry groups of semicontinua p10 1m (s1m)
and p10mm (smm). They are derived,
respectively, as the extensions of the visually
presentable continuous symmetry groups of
friezes m01 and m0m by a translation
perpendicular to the frieze axis. In ornamental
art, the symmetry groups of semicontinua usually
are presented by adequate systems of parallel
lines, constructed by such a procedure.
Slavik Jablan
http://www.emis.de/monographs/
jablan/chap25.htm
Symmetry Groups
of Ornaments G2
Slavik Jablan
http://www.emis.de/monographs/
jablan/chap25.htm
Symmetry Groups of Ornaments G2
Slavik Jablan
An Example of ornament symmetry groups
Slavik Jablan
Ornaments with the symmetry group p1…for the first time occur in Paleolithic art...The origin of these
ornaments, obtained by multiplying an asymmetric figure by means of a discrete group of translations, may
be interpreted also as a translational repetition of a frieze with the symmetry group 11, already existent in
Paleolithic ornamental art. Both of the axes of generating translations are polar. Since the symmetry group
p1 does not contain indirect isometries, the enantiomorphism occurs. A fundamental region usually has an
arbitrary parallelogramic form. Due to their low degree of symmetry, ornaments with the symmetry group
p1 are relatively rare. Mostly, they occur with stylized asymmetric motifs inspired by asymmetric models in
nature, rather than by using asymmetric geometric figures.
Examples of ornaments with the symmetry group p1 in Paleolithic and Neolithic art:
(a) Chaffaud cave, Paleolithic (Magdalenian); (b) Paleolithic bone engravings,
around 10000 B.C.; (c) Hacilar, ceramics, around 5700-5000 B.C.
Slavik Jablan
Ornaments with the symmetry group pgg are usually realized by the multiplication
of a frieze with the symmetry group 1g by a glide reflection perpendicular to the
frieze axis.
Ornaments with the symmetry group pgg in Neolithic

art: (a) Jarmo culture, around 5300 B.C.; Ornaments with the symmetry group
(b) Catal Hüjük, around 6380-5790 B.C.; pgg: (a) Columbia, around 800-1500;
(c) Djeblet el Beda, around 6000 B.C.;
(d) Tripolian culture, USSR, around 4000-3000 B.C.; (b) pre-Columbian art, Peru; (c) the
(e) Siyalk, Iran, around 4000 B.C.; ethnical art of Oceania.
(f) Susa and Butmir, around 5000-4000 B.C.
Slavik Jablan
Examples of ornaments with the symmetry group pgg in

the art of Egypt and the Aegean cultures
Similarity Symmetry
and
Conformal Symmetry
Similarity Symmetry
Non-metric construction of a figure with the symmetry K (k > 0).
The symmetry group K (for k > 0) occurs in ornamental art, though not
frequently, due to its low degree of symmetry. It plays a special role in
fine art works using the central perspective.
Slavik Jablan
www.emis.de/monographs/jablan/chap32.htm
Fra Angelico
(Guido
di Pietro
da Mugello)
Diagram by
Philip Resheph
Carlo Crivelli
Paolo Caliari
Veronese
Tintoretto
(Jacopo Robusti)
Claude Monet
Edgar Degas
Edgar
Degas
Vincent van Gogh
Vincent van Gogh
Vincent van Gogh
Albert Marquet
André Derain
Visual interpretations of the continuous Paleolithic spiral ornaments:
similarity symmetry groups: (a) D∞K (∞mK); (a) Arudy; (b) Isturiz; (c) Mal'ta,
(b) L1; (c) C2L1 (2L1). USSR (Magdalenian, around
10000 B.C.)
The basic visual-symbolic characteristic of the symmetry group L is a double visual
dynamism, caused by the visual suggestion of a rotational motion and centrifugal
expansion, resulting from the rotational and dilatational component…The symmetry
group L is applied in painting works having the central perspective as the element,
or even as a basis of the complete central dynamic composition of the work (e.g., in
the baroque, in Tintoretto's works), creating thus the visual impression of an
expanding rotational motion.
Slavik Jablan
www.emis.de/monographs/jablan/chap32.htm+perspective+symmetry+transformation
Raffaello
Sanzio
Raffaello Sanzio
Diagram by
Charles Bouleau
Tintoretto (Jacopo Robusti)
El Greco
(Domenikos Theotokopoulos),
diagram by
Charles Bouleau
Woven baskets of the American Indians, which suggest the
similarity symmetry of rosettes C5L (5L) and C4L (4L).
Slavik Jablan
www.emis.de/monographs/jablan/chap32.htm+perspective+s
ymmetry+transformation
Dancing Apsara, style of Angkor Vat
Francesco Primaticcio
Tintoretto
(Jacopo
Robusti)
Edgar Degas
Vincent van Gogh
Similarity symmetry group DnK (nmK):
the perspective gradient
rosettes with the similarity symmetry group
shown in a 60° circle of view
D12K (12mK) (the monastery of Dechani,
Yugoslavia).
Bruce MacEvoy
Slavik Jablan
http://www.handprint.com/HP/
www.emis.de/monographs/jablan/chap32.ht
WCL/perspect2.html
m+perspective+symmetry+transformation
Decani monastery, wall painting
Göreme Museum. Elmali Church,
Cappadocia, Turkey
[Photo Dick Osseman]
Göreme Museum, Karanlik Church,
Cappadocia, Turkey
Sucevita monastery, dome fresco
Sucevita monastery, fresco
Russian icon
Istanbul, Kariye or Chora Church
Correggio
(Antonio Allegri)
Ercole de'Roberti
(Ercole d'Antonio Roberti)
Vittore Carpaccio
Vittore Carpaccio
Tintoretto (Jacopo Robusti)
Albert Marquet
Jacques Villon
Jacques Villon
The idea of conformal symmetry was
given in the monograph Colored
Symmetry, its Generalizations and
Applications by A.M. Zamorzaev,
E.I. Galyarski and A.F. Palistrant
(1978) as a generalization of similarity
symmetry... conformal symmetry
rosettes are used in ornamental art by
almost all cultures. They have a
special place in Romanesque and
Gothic art, within rosettes used in
architecture.
Slavik Jablan
http://www.emis.de/monographs/jabla
n/chap41.htm
Examples of conformal symmetry

rosettes with the symmetry groups of
the type DnRI, which are used in
ornamental art.
Slavik Jablan
http://www.emis.de/monographs/jablan/
chap42.htm
Canterbury cathedral
Chartres
cathedral
Chartres cathedral
Marc Chagall, studies for stained glass windows, Metz cathedral
Marc Chagall, study and stained glass window, Metz cathedral
Marc Chagall, studies for stained glass windows, Reims cathedral
Marc Chagall, stained glass windows, Reims cathedral
Directly linked to these problems, and covered by the theory of similarity
symmetry and conformal symmetry, are the questions of the theory of
proportions, the roots of which date from Greek geometry. It held a special place
in Medieval and Renaissance architectural planning and it reached its fullest
expression in applications of the "aurea sectio" (or the "golden section") and
musical harmonies used in architecture and in the visual arts.
Slavik Jablan
…each system of proportions gives rise to a sequence of 1's and 0's referred to
in the study of dynamical systems as symbolic dynamics. Proportional systems
based on phi , root 2, and root 3 were the principal systems used to create the
buildings and designs of antiquity… Root 2 and root 3 geometries also have
connections to the symmetry groups of the plane [Coxeter 1973].
Systems of Proportion in Design and Architecture and their

Relationship to Dynamical Systems Theory
by Jay Kappraff
http://members.tripod.com/vismath/kappraff/kap1.htm
The Law of Repetition of Ratios
This concept has been popularized by the

twentieth century designer Jay Hambridge who
referred to it as dynamic symmetry [Hambridge
1929], [Edwards 1968]. In Figure 4a the law of
repetition of ratios is applied to a golden rectangle
of proportions 1 : φ to obtain a gnomon equal to
a square (S), i.e., G = S. In Figure 4b dynamic
symmetry is applied to a rectangle of proportion
1:θ, which we refer to us as a Roman rectangle,
to obtain a gnomon of a double square, i.e., G = S
+ S. In Figure 4c, for a rectangle of proportions
1 : ψ, we obtain G = S + S + U. For a rectangle of
proportions 1: √2, G = U, i.e. , if the root 2
rectangle is divided in half, two root 2 rectangles Law of repetition of ratios where the unit is a)
are created (see Figure 4d). For a rectangle of
proportions 1: √3, G = 2/3 U, i.e., the unit is the
a golden rectangle; b)a Roman rectangle; c)
1/3 part of the original rectangle (Figure 4e) a 1 + √3 rectangle; d) a root 2 rectangle; e) a
root 3 rectangle.
Jay Kappraff
http://www.mi.sanu.ac.yu/vismath/kappraff/kap3.htm
Turkey, Antakya mosaic. Orpheus and the Beasts [Photo Dick Osseman]
Roman mosaic (Turkey), approximately φ
Roman mosaic (Turkey) approximately φ
Roman mosaic, approximately √ φ
Byzantine icon, approximately √ φ
Anonymous Siena master, approximately √4
Giovanni Francesco da Rimini, approximately 1 + √2
Giovanni Francesco da Rimini, approximately √3
Fra Angelico (Guido di Pietro da Mugello),
approximately a φ rectangle
Luca di Tommé,
approximately √ φ
Niccoló di Buonaccorso,
approximately φ
Attributed to Cosimo Rosselli, approximately √ 2
Anonymous German master, approximately √4
Felix Klein proposed that group theory, an algebraic approach that encapsulates the
idea of symmetry, was the correct way of organising geometrical knowledge; it had
already been introduced into the theory of equations in the form of the [Evariste]
Galois theory. Secondly, he made much more explicit the idea that each geometrical
language had its own, appropriate concepts, so that for example projective
geometry rightly talked about conic sections, but not about circles or angles
because those notions were not invariant under projective transformations
(something familiar in geometrical perspective). The way the multiple languages of
geometry then came back together could be explained by the way subgroups of a
symmetry group related to each other. [From Wikipedia, the free encyclopedia]
Indra's Pearls. The Vision of FELIX KLEIN

David Mumford, Caroline Series, and David Wright
Cambridge University Press, Cambridge, 2002.
From the publisher:
In Hindu mythology, the heaven of Indra contained a net of pearls. Each pearl was reflected in its neighbour so
that the whole universe was mirrored in each pearl. This idea was rediscovered by mathematicians, first by Felix
Klein, one of the great geometers of the late nineteenth century, who started with infinitely repeated reflections
and was led to forms which are the chaotic images of symmetry generated by interacting spiral flows. For a
century the images, painstakingly drawn by hand, barely existed outside the mathematical mind. In the 1980's,
the authors embarked on the first computer exploration of Klein's vision, and in doing so, found further
extraordinary images of their own. This book leads the reader on a journey from the arithmetic of complex
numbers to the simple algorithms which create these delicate fractal filigrees in extraordinarily beautiful forms. It
explains the pictures at a variety of levels, starting with basic algebra, continuing through do-it-yourself
programs and explorations of the mathematics behind them, to the forefront of modern research.
a Kleinian group whose limit set consists of circles
a degenerate Kleinian group
Peter Liepa
http://www.brainjam.ca/fractals.html

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Perspective as Form and Medium

SolInvictus Press 2006

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of Symmetry Groups of Rosettes G20

Examples of friezes with the symmetry group

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Examples of friezes with the symmetry

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Examples of friezes with the symmetry group 12:

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Examples of friezes with the

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Examples of friezes with the

Slavik Jablan, http://www.emis.de/monographs/jablan/chap24.htm

Friezes with the

Antisymmetry friezes in Neolithic ornamental art:

Wallpaper symmetry groups

Wallpaper symmetry groups

Wallpaper symmetry groups

Wallpaper symmetry groups

Wallpaper symmetry groups

Ornaments with the symmetry group pgg in Neolithic

Examples of ornaments with the symmetry group pgg in

Non-metric construction of a figure with the symmetry K (k > 0).

Examples of conformal symmetry

Systems of Proportion in Design and Architecture and their

This concept has been popularized by the

Indra's Pearls. The Vision of FELIX KLEIN

a degenerate Kleinian group

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