I put up a post on horizontality a while ago and as I'm seeking some sort of balance in my reflections, think it's about time to explore the vertical.
From: Felix Moscheles’s 1896 book, 'In Bohemia with Du Maurier'
When you begin a course in objective drawing, one of the first things you will be asked to do will be to practice measurement and one of the main elements of that will be to establish a vertical against which you can check both angles and relative sizes. Basically in order to establish measurement you need to compare a known element to an unknown one. One of the most common “known” elements is one that exists due to gravity.
A drawer establishes a vertical by using a plumb line
A plumb line is one of the oldest measuring devices, one that has been used to establish verticality from time immemorial. It is also used to check relationships.
Checking the relationships between the corner of a sculpture's base and the carved head
As you can see from the image above, by using a plumb line we can easily check what lies directly above the vertical line established by the corner of the sculpture's base. We can also begin to assess by eye angles that relate to our vertical, such as the angle of the chin, of an eye or a cheek bone. By assessing a measure of length in relation to the plumb line, usually the artist's thumb slid up and down a pencil, you can also begin to establish size constancy.
Using your thumb and end of a pencil to find a unit of length.
In the image above you can see how the plumb line establishes a vertical and how in relation to that you can find a unit of measurement; often in the case of life drawing using the head as a unit. This is of course 'sight size', so if you want your drawing to be bigger, you multiply the measured unit by the percentage larger you need it to be, leading to what is usually called proportional or scaled drawing.
From: Charles Blanc’s 1867 book, Grammaire des arts du dessin.
Charles Blanc in his 'Grammaire des arts du dessin' uses an illustration that depicts a human being standing on top of a semicircle that represents the sphere of the world. A vertical line runs through both the standing human and the world and this in turn represents a plumb line, which visualises how everything standing on the Earth relates to its centre of gravity. By using this line Blanc shows how the human figure and any other form, can be drawn as if firmly standing on the ground. Any deviation from this vertical creates some form of movement or emotional exchange beyond the establishment of uprightness.
From: Grammaire des arts du dessin.
We have already looked at Humbert de Superville's work, a man who had his own three line scheme for expression; 'expansive, horizontal, and convergent', a scheme that he believed affected fundamental emotions. This 'off the vertical' scheme, was taken up by Charles Blanc and used to explain why it was so important to establish verticality as a measure against which all other angles could be compared. Therefore quite early on we have a relation between the vertical as a support for measurement, but also as a comparator in terms of emotional register. The vertical in the visual arts representing an upright character, one associated with resilience, growth, inner strength and quiet confidence. Vertical lines conveying a sense of nobility, spirituality and stability. They can also communicate a feeling of loftiness and spirituality, as vertical lines may suggest a relationship with the sky and other untouchable cosmic entities, such as the sun, moon and stars. Extended perpendicular lines suggesting an idea that goes beyond human measure.
If however you want to specify the establishment of a vertical line without any emotional or spiritual implications, you can do this by referring to it as a Unicode Character. U+FF5C represents the Fullwidth Vertical Line.
Unicode Character “｜” (U+FF5C) The Fullwidth Vertical Line
Unicode stands for ‘Universal Character Encoding’ and is a global standard for representing text characters in binary form. It enables consistent storage, exchange and processing of text across different digital systems and platforms. Unicode was created with the aim of serving as a unified standard for representing all writing systems and characters developed by humans.
But if we look at heraldry the primary name for a single, wide, vertical stripe located in the centre of a shield is a pale. A palet or pallet, being a thinner version of the pale. The pale may occupy one third of the width of the shield. It has two diminutives, the palet, which is half as wide as a pale and the endorse which is by some said to be one eighth of its breadth, by others one fourth. However, being upright and red, it also signifies courage.
A Pale
If considering the cross of the crucifixion, the 'stipe' is the vertical beam or upright post driven into the ground. A vertical view of the crucifixion refers to both the physical, upright orientation of the cross (crux immissa or crux commissa) on which Jesus was executed, as well as the theological, vertical relationship it represents between God and humanity. This theological, vertical relationship represents the direct, personal connection between God and humanity. Often symbolised by the vertical beam of the cross, it represents the reconciliation of sinners to God through Jesus Christ, facilitating a "God-ward" orientation of worship, prayer, and obedience.
Michelangelo: Crucifixion
In Michelangelo's drawing the outstretched arms of Christ metaphorically fly him into that other world that sits above the humans that support him; humans, who Christ will in turn support as he makes his way to God's side. The vertical of the cross extends out of the ground at the base of the drawing and into infinity at the top. As it is cut off, the implication is that it continues out into the cosmos, invisibly extending far beyond the physical edge of the paper it is drawn upon.
The vertical of the cross is perhaps one of the most spiritual metaphors associated with verticality, but it is not the only one. The vertical, invisible line that extends through the body as an energy channel in Eastern spiritual traditions is most commonly known as the Sushumna Nadi in Hinduism and Yogic philosophy. In Chinese Taoist alchemy and Qigong, this central axis is often referred to as the Central Meridian (Zhong Mai) or the Taiji Pole.
The Sushumna Nadi
In Hinduism the 'Nadi' are astral channels, made up of astral matter that carry Pranic currents and the Sushumna Nadi is the most important one. It is a three in one symbol; the sustainer of the universe, the path of the universe and the path of salvation. It joins the back of the anus, via the spinal column, to the Brahmarandhra of the head and is invisible and subtle. In everyday life we feel this as we breath in and stand more upright, letting the top of our head becoming attached to an invisible thread that helps us maintain that upright vertical stance. This is again something I've become much more aware of as I continue with my research into visualising interoception.
The Chinese arts of health, maintain that an upright posture for the cultivation and circulation of energy is vital. The Taiji Pole, is said to run directly through the centre of the body from the top of our head from the (Bai Hui) Spirits Door energy point (Qi Xue) down to the (Hui Yin) Meeting Yin energy point which is located between our anus and testicles. It is an energetic line on which are found the three elixir energy centres ( Dan Tians) of the upper Dan Tian, which is located in the head, the middle Dan Tian located in the chest and the lower Dan Tian located in the abdomen. The Taiji Pole also has three major energy channels that connect to it; 1: The Govenor channel (Du Mai) which travels up the back from the tail bone to the roof of the mouth and is considered a Yang channel. 2: The Conception channel, that travels from the tip of the tongue down the front of the body to the (Hui Yin) energy point between the legs is considered a Yin channel. 3: The most important energy channel that is also connected to the Taiji Pole is known as the Thrusting channel (Zhong Mai) which travels directly between both the Governor and Conception channels. In medical Qigong practice, a priority is regulating these two channels in order to balance Yin and Yang in the body.
Taiji Pole
We are it seems both physically wired and mentally wired. Energies flow between parts of the body in ways that at times are confusing, but perhaps only because we don't quite yet understand the full complexity of their interrelationship.
Like trees we have evolved to stand tall. Trees maintain their verticality by constructing a scaffolding of trunks, limbs and branches that enable them to rise from the ground into the upper atmosphere. This makes them free of competition from ground covering plants and shrubs. In landscapes humans and trees are often the verticals against which the horizontality of the landscape is measured. In fact you can structure a landscape around a vertical and horizontal axis.
Like trees we have evolved to stand tall. Trees maintain their verticality by constructing a scaffolding of trunks, limbs and branches that enable them to rise from the ground into the upper atmosphere. This makes them free of competition from ground covering plants and shrubs. In landscapes humans and trees are often the verticals against which the horizontality of the landscape is measured. In fact you can structure a landscape around a vertical and horizontal axis.
The differences between forests and woods, agricultural land, park landscapes, reed-beds and marshlands are recorded using height, openness and density of vegetation. All vegetation aspires to reach upwards and turns towards the sun. Whether a grass stalk or a fir tree, plants have evolved a vertical structure, designed to be able to bend with the wind and at the same time achieve maximum height by building rows of semi-rigid cells upon rows semi-rigid cells in the form of complex matrices.
Georgia O'Keefe wrote the following to her husband Alfred Stieglitz in 1929:
"There is much life in me...I realised I would die if I it could not move towards something...it makes me feel I am growing very tall and straight inside...and very still."
The flat landscape of New Mexico had given her a new life, one that she sensed verticality, as she measured herself against her surroundings.
Reference:
O'Keefe, G. and Stieglitz, A. (2011) My far away one: Selected letters of Georgia O'Keefe and Alfred Stieglitz New York: Yale
comprare una pistola al mercato nero.
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