She has and continues to travel extensively, working closely with Artisans, Marine B iologists, Ecologists and NGOS focusing on wellbeing and education. By exploring these principles, her journey continues, soaking up the very essence of ~ The Art Of Process.Ī nomad at heart, Stephanie has lived in various parts of Australia, Bali, Singapore and London. She has dedicated her life to exploring primordial patterns and symbols ( the circle, the square, the triangle ) which operate in the psyche of everyday individuals. Stephanie truly believes that geometry contains the power to unify the four dimensions of the mind ~ Body, emotion, soul and spirit. Primarily working with ink on paper, h er creative practice and offerings centre around crystalline and botanical patterns which aim to transcend viewers beyond the physical world and encourage a wider vision of awareness. Th rough her workshops and retreats she engages with worldwide communities offering wellness through the creative process with a focus on Cultural Heritage and Conservation through patterns. “There’s no way you can leave the covenant path without losing the covenant view.Stephanie June Ellis is an International Artist, Mentor, Author and a leading specialist in The Art Of Sacred Geometry. “When we see beauty and holiness together, that’s the covenant view, that’s the temple view,” Brickey said. Brickey referred to a connected view of beauty and holiness, also known as the covenant or temple view. He referenced our cultural inability to look past the obvious to look towards the heavenly. The horizontal and vertical lines of the cross with Christ in the center represent the joining of earth and heaven, just like the sun and the pyramids.īrickey concluded with an invitation to look for deep meanings, particularly in religious art. At certain points in the year, the Egyptian temples were oriented to frame the “meeting of heaven and earth.”Ĭhrist’s head and outstretched arms on the cross also create an ahket gesture. The Pyramids of Giza are an example of the ahket in Egyptian architecture, implying a relationship between the temporal framing the infinite. It represents the infinite framed against the temporary. Their fingers come together and create golden ratio, showing Adam’s perfect harmony with God.Ĭhrist's position on the cross creates an ahket gesture.īrickey’s most ancient idea for recognizing religious geometry dates back to the ahket, an Egyptian ideogram that depicts the sun rising over a mountain. Adam appears in the lesser domain with God in the greater domain. In The Creation of Adam, Michelangelo used the golden ratio to create balance and symmetry. One of Catholicism’s most sacred works of art also contains the golden ratio: Michelangelo’s Sistine Chapel. The golden ratio creates an invisible line where the above and the below meet, mirroring where heavenly and earthly knowledge also meet. Raphael also painted the immortal gods above the philosophers, implying a sense of heavenly knowledge. The horizontal and vertical lines of the philosophers perfectly reflect the dimensions of the golden ratio. Plato points upwards, tangibly pointing to the infinite, while Aristotle, holding his book, Ethics, motions toward the earth. At the center stand Plato and Aristotle, representing a central search for human truth. The painting highlights classical philosophers with a wealth of knowledge, not only of the temporal world but also of the spiritual world. The first painting Brickey introduced carried unexpected religious undertones and a hidden use of the golden ratio: Raphael’s School of Athens. When used in religious art, the golden ratio implies a sacred nature of perfection and completeness. In art, the golden ratio refers to a midpoint when a segment is divided, creating beauty, balance, and harmony in the artwork. Initially beginning as a mathematic concept, the golden ratio of 1:0.62 divides lines in an aesthetically pleasing way. One of the most common forms of geometric symbolism in religious art is the golden ratio.
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