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| Format: | Recurso digital |
| Language: | French |
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2025
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| Online Access: | https://doi.org/10.5281/zenodo.15254877 |
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| author | Guy Ernest |
| author_facet | Guy Ernest |
| contents | <p>This article offers a fresh interpretation of Leonardo da Vinci’s iconic drawing, <span><strong>Vitruvian Man</strong></span>, created around 1490. Without disclosing the full details of my demonstration, I present the theoretical and mathematical foundations of my research, directly linked to the principles laid out by <span><strong>Vitruvius</strong></span> in his treatise <em>De Architectura</em> (1st century BCE).</p> <p> </p> <p>My study aims to show that this emblematic sketch is not merely an artistic or philosophical statement, but a <span><strong>rigorous geometric model of the ideal human body</strong></span>, rooted in the Platonic tradition of perfect forms. By drawing on the theorems of <span><strong>Pythagoras</strong></span>, <span><strong>Thales</strong></span>, <span><strong>Euclidean geometry</strong></span>, and concepts from <span><strong>kinematics</strong></span>, I identify a formal connection between human proportions and a perfect geometric shape—<span><strong>the dual</strong></span> of the human body, according to the laws of symmetry and motion.</p> <p> </p> <p>Guided by the principles of <span><strong>lateral thinking</strong></span> developed by Edward de Bono, I take an unconventional yet scientifically grounded approach, enriched by the insights of renowned art historians such as <span><strong>Pascal Brioist</strong></span>, <span><strong>Daniel Arasse</strong></span>, <span><strong>Martin Kemp</strong></span>, and others. My analysis uncovers a coded and mathematically precise logic behind da Vinci’s sketch, revealing overlooked elements: the <span><strong>1/14 reduction of the circle</strong></span>, the <span><strong>implicit diagonals</strong></span> of the square, the <span><strong>pubis-to-navel variation</strong></span>, and the concealed presence of a <span><strong>unique Platonic solid</strong></span>, born of the union between the circle and the square.</p> <p> </p> <p>In essence, this study asserts that the <span><strong>Vitruvian Man</strong></span> embodies the perfect symbiosis between <span><strong>ideal geometry and ideal human anatomy</strong></span>, fulfilling Vitruvius’ ancient conviction through a modern mathematical lens. This reading sheds new light on Leonardo’s artistic and scientific vision, positioning the sketch as a <span><strong>conceptual key to his entire body of work</strong></span>—much like <span><strong>a combination to a safe</strong></span> would unlock the mystery of the <em>Mona Lisa</em>.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_15254877 |
| institution | Zenodo |
| language | fra |
| publishDate | 2025 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Leonardo da Vinci, Vitruvius and the Geometric Ideal: Towards a Proof by Theorems Guy Ernest <p>This article offers a fresh interpretation of Leonardo da Vinci’s iconic drawing, <span><strong>Vitruvian Man</strong></span>, created around 1490. Without disclosing the full details of my demonstration, I present the theoretical and mathematical foundations of my research, directly linked to the principles laid out by <span><strong>Vitruvius</strong></span> in his treatise <em>De Architectura</em> (1st century BCE).</p> <p> </p> <p>My study aims to show that this emblematic sketch is not merely an artistic or philosophical statement, but a <span><strong>rigorous geometric model of the ideal human body</strong></span>, rooted in the Platonic tradition of perfect forms. By drawing on the theorems of <span><strong>Pythagoras</strong></span>, <span><strong>Thales</strong></span>, <span><strong>Euclidean geometry</strong></span>, and concepts from <span><strong>kinematics</strong></span>, I identify a formal connection between human proportions and a perfect geometric shape—<span><strong>the dual</strong></span> of the human body, according to the laws of symmetry and motion.</p> <p> </p> <p>Guided by the principles of <span><strong>lateral thinking</strong></span> developed by Edward de Bono, I take an unconventional yet scientifically grounded approach, enriched by the insights of renowned art historians such as <span><strong>Pascal Brioist</strong></span>, <span><strong>Daniel Arasse</strong></span>, <span><strong>Martin Kemp</strong></span>, and others. My analysis uncovers a coded and mathematically precise logic behind da Vinci’s sketch, revealing overlooked elements: the <span><strong>1/14 reduction of the circle</strong></span>, the <span><strong>implicit diagonals</strong></span> of the square, the <span><strong>pubis-to-navel variation</strong></span>, and the concealed presence of a <span><strong>unique Platonic solid</strong></span>, born of the union between the circle and the square.</p> <p> </p> <p>In essence, this study asserts that the <span><strong>Vitruvian Man</strong></span> embodies the perfect symbiosis between <span><strong>ideal geometry and ideal human anatomy</strong></span>, fulfilling Vitruvius’ ancient conviction through a modern mathematical lens. This reading sheds new light on Leonardo’s artistic and scientific vision, positioning the sketch as a <span><strong>conceptual key to his entire body of work</strong></span>—much like <span><strong>a combination to a safe</strong></span> would unlock the mystery of the <em>Mona Lisa</em>.</p> |
| title | Leonardo da Vinci, Vitruvius and the Geometric Ideal: Towards a Proof by Theorems |
| url | https://doi.org/10.5281/zenodo.15254877 |