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“Le Dodécaèdre” is a solid notion of philosophy and mathematics that has been known as the symbol of Harmony since Plato.
And all the great scholars underline the importance of this solid geometric image. However, as in all great powers, it is an invisible phenomenon in terms of physics. On the other hand, aesthetic beauty is based on rhythm and harmony. And that is why our painter R.ATALIK depicts the geometric image of this harmonic symbol in many of his works.
Essentially, since Pyhtagoras it has been conceived as the most powerful symbol in bringing together the universal harmony of creation, the mathmatics, the Philosophie, as well as the logic in its scope, the "Analogie principle" with Truth. Plato and Pyhagoras would conceive this symbol together into the 5 Solides réguliers (5 regular solids) connected to the whole in the "theory of proportions", in which Plato has presented the "Dodécaèdre" as the model for the harmonie du COSMOS (harmony of the universe). (Plato underlined in this way, he envisioned a respectful language in his interviews with Pyhagoras). Later, in his fourth book, Euclide named the section "Section Dorée", which he created through the parts called "middle" and "tip" in proportion in the construction of the regular pentagon, which Pythagoras who had previously dealt with the "Golden Section" and "moyenne harmonique" mentioned in the whole book. It is known to be the invention of the people.
Pre-study of «carré magique» in layout 18
The magic square is an nxn square with numbers 1 through n written in it. However, these numbers are written in such a way that the sum of each row, column and diagonal is equal to the same number. All the numerical pairs here have been created by placing them on a unique 3-order composer in a balanced whole, without exception, together with the highest quality 6 groups. It is our artist who is the first to point out that the number 18 is the underlying number of truth, and its connection with the divine proportion.
In view of its importance here, it should be noted that all fine arts are founded on the precision of Pythagore's philosophy to the Sacred Numbers. Pythagoras expressed this in the famous maxim "Tout est arrangé d'après les Nombres" (Everything is arranged by number), in the famous maxim formulated by reason. In order to better understand the importance of "Dodécaèdre" and what it symbolizes, it should be remembered that both Pythagoras and Plato among the 5 Cosmique figures saw "Dodécaèdre" as the Symbol of the entire Universe in the context of cosmic harmony. (Essentially, the name Cosmos meant the Universe arranged in a harmonic whole). This 'Harmonie Cosmique' notion 'Théologie'
and the Universe, and was brought by Pythagoras from among the priests of Thebes in ancient Egypt. It is known that 'RENAISSANCE' has absorbed and incorporated all these extraordinarily fundamental notions or concepts that have been formed over the centuries. But beyond that, he enriched this with art masterpieces, as well as adding the depth of Théologie to the aesthetic perfection of nature.
Especially this notion in the High Renaissance, which was formed by the notion of "DIVINE PROPORTION", was a new invention that passed from the immortal soul of the WHOLE to man, perhaps the most valuable métaphysique invention of all times (if one can say it). Thus (the glory of the Renaissance, which means the rebirth of humanity, began with the work of Paolo Ucello and Piero della, who first revealed the spirit of "Divine Proportion." Ki is Piero's Théologien and mathematician student Fra Luca Pacioli, the artist and He gathered scientists in Milan and made the book called '' DIVINA PROPORTION '', which Leonardo da Vinci illustrates, was first published in 1498 and then in 1509.
1963, Detail, Nature Morte: 'Eem river of the Netherlands'
A landscape view with an architecture that is beautiful enough to be painted on. ''
Signature: R.ATALIK. In fact, although it is not the window seen here, with the addition of a «carré magique» in the order 10, Atalik has created an «authentique» depth effect
1968, Detail: "Spider on a web that is hard to understand"
(See lower left corner of the full table).
This detail can be framed like an abstract work, which creates a richness that integrates with the painting on the surface of the work on which it is located. This makes us think of music like a symphonic "scherzo" artfully inserted into composition.
1970, Detay, from the work named '' Philosophical doctrine of beauty ''
This detail in the image is the nucleus of the Uranium 238 atom (a radioactive isotope with atomic number 92). Here, as in the work, it is depicted in a size close to its natural size (R = 12 cm), and the image in geometrical coordinates (x = 120 y = 90) is combined with the art of R. ATALIK. In addition, as an oil paint from a technical point of view, it is performed with an extraordinary delicacy, while only linen oil and terebantin essence are used
Detail From the work named '' Fikret ATALIK's double portrait ''.
Here, a deer adjacent to a vase and the signature of the artist REŞAD ATALIK on a book, the symbol of Q φ (phi) Detail: From the work titled “Fikret ATALIK's double portrait”. Here, a deer adjacent to a vase and the signature of the artist REŞAD ATALIK on a book are seen under the symbol of Q φ phi, which primarily indicates the harmonic system that forms the substructure of the work. (Essentially the letter φ in classical Greek has the value of φ = 500 and is reflected in all genuine works of art such as 2 = 1.6180339 + φ 1 = 0.6180339 = √5 or 100 (φ2 + φ1) ² within Philosophie (φi λoso φia) and It contains (golden numbers) that form the basis of "harmony".
Detail: Detail from the work titled '' Which is important, internal or external ''
r. The nude young girl pictured is an 18-year-old French modeling at the Paris Academy called ENSBA; The other figure on the doorstep is another Parisian model and has an important place in this work.
Detail: Detail from the work titled '' Which is important, internal or external ''
Here you can see a rural town with 3 fairy girls in the nature that gives a depth effect. But also, a seemingly enigmatic issue arises, whether this is a painting or a view from the window. Undoubtedly, the view out of the window; because one foot of the female figure wearing a red dress on the right of the work goes inside, which brings her to the fore in the depth of the subject.
Detail: Detail from the work titled '' Which is important, internal or external ''
Here you can see the figure of a woman walking through a doorway at her feet and the nature behind her. But with nature, he is still an external figure. Although the 3 figures and towns seen on the other side are considered as the details of a painting, it can be considered as a rural image outside the window. In a way «énigmatique» is a matter
'' The artist's self-portrait is in tune with 26 æDodéacaèdre '' (Detail)
'' Dodeacedre and pre-work
In this work, an invisible "Dodéacèdre" was built on the head of the extra Harpist. Meanwhile, the line descending from the upper golden section creates an axis that makes the harpist's body balanced, as well as [(130 φ¹ = y = 49.6 cm; x = 44cm, the horizon joining directly above the heart to the nipple at 440 mm or music)] is tuned (440 vibrating ) coordinated with a precise measurement
1981, Detail, "Prudence's tender gaze"
This work contains a '' carré magique '' of the best quality in 12 order, which is also in its content, "best quality 4 square magique". This is a very important issue in the world of square magic. Because all numbers divisible by 4 can be composant in magical compositions. "Carré magique" as the best of its kind here appears for the first time in this work of the painter Reşat ATALIK.
1972, detail of '' Philosophique Self Portrait of the Artist ''
A geometric figure. Here you can see what ATALIK can do with a striking technique and a simple material such as oil paint on canvas in perfect elegance. This figure dominates the shadow part of the composition without disturbing the light balance.
Detail LA JUSTICE from the work titled '' 4 vertus cardinales indicating the 4 aspects of the mind ''
La Justice (Representative of Rights) The angel seems to be the first to come and carry a balance with light from the moral point of view, this angel is the guardian of righteousness and truth, as well as embodying these qualities in itself and also symbolizing and preserving this power.
Detail '' LA PRUDENCE from the work named 4 vertus cardinales, which indicates the 4 aspects of the mind ''
PRUDENCE We anticipate dangers and mistakes under the protection of Hak, and should take place at the basis of all our behaviors because of their morality; His constant support for good against evil makes him an angel of goodness, which supports him as a balancing factor in 'Tempérance'.
Detail '' LA TEMPÉRANCE from the work named 4 vertus cardinales, which indicates the 4 aspects of the mind '
Representing LA TEMPÉRANCE, Measure and Decency, this angel of desires is holding the brakes; It keeps passions such as hardship, addiction, passion and love in two balances; brings measure to all kinds of use.
2009, Details' 'LA FORCE' LA FORCE from the book 4 vertus cardinales, which indicates the 4 aspects of the mind,
"Force" given to God's order. To explain this, the Painter composed "Force" with a hammer "dodecaèdrique", which is the strongest sign of "harmonie cosmique". Length of the hammer with its chain: 500 square root = 22.36 cm = 16.18 + 6.18. (dodécaèdrique hammer R = 3.09). 4 faces or heads of Vertus Cardinales = 7.07 cm each vertu = 50 square root and lengths of 50 cm
''Yeni doğmuş bebek R.Atalık birkaç aylıkken'' (54x65 cm) adlı eserin ön çalışması.
geometrik altyapı olan ''charpente''lar örneği
2004, ''Isis, ''Caducee''nin üstünde bulunan ''kutsal ruhu'' işaret ediyor ki, onlar 12'li özel bir ''carre magique''in olduğu pencerenin ardında görülüyor'' (detay)
Klasik bir ''Caducée'' için çalışma
Figure 1
Figure 2
'Auto portrait' (pre-study)
6. Originally the work was like in figure2. However, the reasoning on the side was changed as explained and FIGURE 1 was preferred. In the same mathematical layout, if the "bimagique" lines are underlined differently, another composition is obtained, and if desired, this layout can adapt to a "picturale" perspective. That is why here you are presented with 2 different figures in the same order. With a comparison, it can be understood why the artist chose the 1st figure, the main reason for this is that the distance between the "des sinatrice" figure in the front and the architecture behind it is increased. Because, the prominent structure in the 2nd figure causes a congestion problem, which disturbed the artist in the visual plan. It should also be pointed out here that the figure of '' dessinatrice '' with its beauty has been dominated throughout the work, despite the fact that bimagique occupies a lot of space in its entirety and moreover it is in a central position. For, the natural beauty and value of man will naturally dominate, even if it is another magical beauty, with an inanimate material or magique architecture. Of course, the will of the artist and the understanding of "ethique" come first. In this work, the brain center and eyes of the female figure are placed on the line known as the female principle. The brain center and eyes of the painter R. ATALIK are on the perspective horizon line passing through the center of bimagique.
Figure 2
Figure 1
"Landscape with two tens bimaques" (Preliminary work)
The bimagique in order 10 on the wall where Figure 1 is seen from the front is placed between two gold gauge lines from the top and bottom. From the top: 200 Φ₁² = 76,39 cm. From below: 100 Φ₁² = 38.19. In addition, the direct section d'or line Φ = 61.8 passes through the brain centers and eyes of both painters. (R. ATALIK, who is the painter sitting on the stool and the artist doing the work.) The bimagique shown here in Figure 1 was chosen as the most picturally beautiful among nearly a thousand compositions. (Although the mathematics does not matter much in terms of number order, very different compositions emerge in terms of the forms formed by geometric and magical lines). However, the selection of a bimagique with perspective as in Figure 2 becomes much more difficult. For, as seen here, the choice of each is not imagined from an oblique perspective, as seen in the table.
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