The secrets of Magic.
by Henryk Szubinski
As with any style, defines the functions of art , has the expression of other arts ,such as Magic.
When an art such as was based on Mannerism starts , another art begins. Because the descriptive of" art at an end" previous to mannerism had an expression of "what an end = to a beginning" really, expresses the art of MAGIC and it's rules.
The same may have happended in the year 500 with Merlin the Wizard having his start by a new type of magic when every other magical art had ended. The descriptive of the meaning of an art that has ended and a new one appears based on the descriptive of the reasons for there being "no more".
Because this gives a glimpse into the secrets of art ,it also gives the reasons why there exists an art to start with.
So at the year 500 ,DARK MAGIC may have ended and the LIGHT MAGIC may have started as the ways of MAGIC of light seeking new reasons fro existing when everything was veiled in darkness .The Age of Merlin has started at this time.
So that previous to Merlin as the number 500 ,the number 400 as the end of possibilities of the past having no new clues, that found a new beginning to the resulting nr 600 and 700. This type of
descriptive of the reasons for no more clues of the future. So that when new art appears, it defines the functions of "making predictions "based on the problems of there being "no future".
Here then, such an description from the history of art.from Wikipedia date,22,06,2017. time 15:07
By the end of the High Renaissance, young artists experienced a crisis:[2] it seemed that everything that could be achieved was already achieved. No more difficulties, technical or otherwise, remained to be solved. The detailed knowledge of anatomy, light, physiognomy and the way in which humans register emotion in expression and gesture, the innovative use of the human form in figurative composition, the use of the subtle gradation of tone, all had reached near perfection. The young artists needed to find a new goal, and they sought new approaches.[citation needed] At this point Mannerism started to emerge.[2] The new style developed between 1510 and 1520 either in Florence,[14] or in Rome, or in both cities simultaneously.[15]
Here then ,the sections of the descriptive (from the meaning above)as the descriptive of MANNERISM. And then the reasons for the MANNER of MERLIN as MANNER+ MERLIN=
"MER MAN NER LIN" or" MAN MER LIN NER"
These translate into: MEr = more, Man = human or male, NER= downwards, LIN=as LINE
so that the translation= more male than any looking down on kings of the line.I will
tationalise this by inputting the translation into the sectionings of the descriptive of
"mannerism".
1)
By the end of the High Renaissance, =more (need for more)
2)
young artists experienced a crisis:=male (no knowledge for those who wanted to grow to become "AWARE"of the infinite).Because when there are no new beginnings there must be some infinite medium by which we may be knowing.
3)
[2] it seemed that everything that could be achieved was already achieved.=than (some facts remained ,probably magic).
4)
No more difficulties, technical or otherwise, remained to be solved.=any (the result was any facts as mixed with meaningless knowledge because of the desperation at the time).
5)
The detailed knowledge of anatomy=looking (as study of the human anatomy, the research for the visual apparatus of the magic of "sight", Vision, ability, and the"predicting the future".So there must have been some ORACLE ,probably MERLIN.At the time of stress of new beginnings of having awareness of the Sun and the planets.
a)
light, physiognomy=down (as related to "gravity" as the MAGICAL SENSE of a force in nature).
b) and the way in which humans register emotion=on(the new art of magic as gravity created us humans as being on a sphere into which emotions are input much like a computer).
c)
in expression and gesture=kings (these people were the first to define gesture = manner of the flow of the manner of using style in how people interact).
d)
the innovative use of the human form in figurative composition=of (so that this manner of representation was aquired by kings first so that the origins are simply sovereign when anyone observes the art related to it).
e)
the use of the subtle gradation of tone=the (as the magic of the gradual change from gravity and emotion as the paintings were more like computers in which the sovereign economy could be defined in grades of economical maturity and it's colors.
f)
all had reached near perfection=royal.Meaning that some facts were remaining and were thus the reason why we humans could evolve . (So that every economy had the predictive of the art as the magic of money ,by art and it's weight as greater than any gold weight values.So that making the gestures of such "art" , was similar to MAGIC on the other side of,( (the common peoples MAGIC )), there was also , the expression of "art" that the kings were involved with. So this defines the functions of MERLIN as the ROYAL MAGIC that he wanted to make ambassadorial in nature as by his ability and usage of the Magical sides of common and elite).
6)
The young artists needed to find a new goal, and they sought new approaches.[citation needed]=rule.Meaning that , rules were developed for the finding of knowledge that was not there previously.
(So that when the early learning of new knowledge, the ART MAGIC of ROYALS went in the directions of PHYSICS and SCIENCE as the representation of most peoples as displaced further ahead of the COMMON MAGIC WAYS and became the FAVORED ROYAL MAGIC as how to define the future by science, because none other science could use gravity and the inputs of gravity (even as such, when witches were burned on the stake).
7)
At this point Mannerism started to emerge. [2]as the new meaning:to the science of every man and may be the science of "immortality" because MERLIN had 3 lives ,3 stories of his history and his magic. Even the cup of the GRAIL gives life as the representation of this ability of science to define how immortality may be found by the previous ways shown above at the start of the 1,2,3,4,5,6,7.
The cause of immortality may actually already be written in this description of "mannerism" at section 8 (see below).
8)as with LEONARDO DAVINCI :and his study of the humans body and his reasons for using visual impressions.
The new style developed between 1510 and 1520 either in Florence,[14] or in Rome, or in both cities simultaneously.[15]
the fact that the mention of simultaneous appearance ,indicates Magic at work .
So then, MERLIN translates into "SIMULTANEOUS" and may be defined by some magic:
= MER SIMUL , LIN TANEOUS (as the person doing the simulation with the TAN spiral)
and again as changed to "appearance" :
=MER APPEAR ANCE LIN (more appearances of the knowledge of apparency):
here then apparency:as notable facts of the LINE of art magic and science as immortality. The clues may be in the fact that most painters at this time were mixing their own oil paints with minerals that were bought by Leonardo Davainci for example, at such sites of digging for the indigo blue that most painters needed, together with the other colors of a greater intensity and which could define the new art directions where there were noone previously. So Painting became the ability to take from Earth, just like magic does and create new art
expressions from combining oil, and dyes , together with other substances such as glues or primers that use animal fats.
So there you have it, the description of MAGIC from the 500 to 1500 ,as the thousand years of innovation of art and it's language as observable from space with sattelites , some 500 years later.
.
This then, the archaeological background of Lund's university,Sweden, having myself studied archaeology with professor Carole Gillis , 2013 to 2013.
here : "Leonardo Da Vinci"and the reason why most famous people are those that live long and who appear to have the likeness of the Wizard.
Probably because they could make images of themselves as by Leonardo Davinci and his drawing portrait and then the Wizard type that expresess
the look of Wizardry as the image of him by the "sight" of magic. Both have the portrait in common and both express the appearance as "older".
and in a time when knowledge was reaching it's limits.
Wizard.
from Wikipedia
date 22,06,2017
time, 19:07
A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer.
Most early representations that are clearly intended to show an individual are of rulers, and tend to follow idealizing artistic conventions, rather than the individual features of the subject's body, though when there is no other evidence as to the ruler's appearance the degree of idealization can be hard to assess. Nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c. 2144 - 2124 BC, show a consistent appearance with some individuality.
Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypt's Fayum district. These are almost the only paintings from the classical world that have survived, apart from frescos, though many sculptures and portraits on coins have fared better. Although the appearance of the figures differs considerably, they are considerably idealized, and all show relatively young people, making it uncertain whether they were painted from life.
The art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. (Compare the portraits of Roman Emperors Constantine I and Theodosius I at their entries.) In the Europe of the Early Middle Ages representations of individuals are mostly generalized. True portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings.
date 22,06,2017
time, 19:07
A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer.
Most early representations that are clearly intended to show an individual are of rulers, and tend to follow idealizing artistic conventions, rather than the individual features of the subject's body, though when there is no other evidence as to the ruler's appearance the degree of idealization can be hard to assess. Nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c. 2144 - 2124 BC, show a consistent appearance with some individuality.
Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypt's Fayum district. These are almost the only paintings from the classical world that have survived, apart from frescos, though many sculptures and portraits on coins have fared better. Although the appearance of the figures differs considerably, they are considerably idealized, and all show relatively young people, making it uncertain whether they were painted from life.
The art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. (Compare the portraits of Roman Emperors Constantine I and Theodosius I at their entries.) In the Europe of the Early Middle Ages representations of individuals are mostly generalized. True portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings.