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a.s.
Valinor
Apr 20 2007, 11:38am
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J.R.R. Tolkien: Artist & Illustrator, Ch. 6: symmetry
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The art of Tolkien---written or drawn---abounds with symmetry. Symmetry in ancient poems (such as Gawain and the Green Knight) was a subject he knew quite well, and he used symmetry consciously (and possibly unconsciously) in LOTR.
Anne Perry, for instance, discussing Tolkien, has noted: "...the kind of symmetry with which Tolkien carefully crafted every aspect of his story".
In an essay by C. W. Sullivan III, published in J.R.R. Tolkien and His Literary Resonances: Views of Middle-Earth, Edited by George Clark and Daniel Timmons, Sullivan discusses (see the appropriate excerpt here):
"The balance between escalation and retardation is one indication of what Andersson {described as an "Icelandic scholar"/a.s.] calls the symmetry of the saga. Further, he notes that the "saga authors have a fondness for the use of pairs and series in their plot structures" ( 43 ). This element of structuring is very common in traditional narratives of all kinds; for example, the number three--three sisters, three wishes, and so on--appears in a variety of legends and folktales. Tolkien's narratives are full of pairs....Even the humorous series that Andersson finds characteristic of saga symmetry ( 48 - 49 ) is reflected in Tolkien's books, most obviously in the arrival of the dwarves at Bilbo's hobbit-hole and later in its parallel at Beorn's home." Tolkien also displayed symmetry in much of his art, not only in the heraldic devices we have already discussed (another good example page here) but in much of the artwork we have previously described. For example:
This cover is a quite obvious example of the symmetry we see in much of Tolkien's artwork, even his illustrations of scenes from the Hobbit.
Symmetry is a also a subject much studied by, among others, neuroscientists and others interested in why our brains want to see symmetry and seek it out when we are observing or interacting with our world. For instance, in a review of a lecture one reviewer phrased it this way:
"Symmetry is a key visual property for humans. Its importance is expressed in its ubiquitous use as a design principle in everything humans construct, from architecture to the pattern in Oriental rugs....Through functional magnetic resonance imaging, it is clear that the brain reacts to symmetry in the occipital lobe, the primary part of the brain that reacts to visual stimuli. Tyler’s research indicates that human symmetry processing is hard-wired. In a matter of less than .05 of a second, humans instinctively scan a visual object for symmetrical qualities".
Tolkien's doodles of designs on a postcard became "devices" used on belts and rugs. In other words, he took pretty little tree-like designs and forced them into a symmetrical pattern. H&S describe his doodles on a postcard:
"The curvilinear plant motifs recall the 'Tree of Amalion' as well as decorations one finds in many fifteenth-century manuscripts and printed books...The bands beside and below the stamps are typical of such designs Tolkien dew in his later years, sometimes in flexible curivng shapes. He decided that these were Numenorean belts. Stylistically related, and drawn at almost the same time as the earliest 'belts' in autumn 1960, are a series of deorative borders, incorporating both floral and geometrical forms, many in delicate colours. In December 1960 Tolkien combined some of these with other motifs in two larger patterns he labelled Numenorean carpets".
(please refer to page 190-191 in text if you have it).
Questions:
1) Looking at the artwork in this chapter and comparing it to earlier discussions, can you show some of the subtler symmetries in other Tolkien illustrations?
2) Is the symmetry seen in Tolkien's drawn art related to the symmetry in his written art? How?
3) Any comments on symmetry in art? Any thoughts on why we find symmetrical things beautiful?
tommorow: neurology
a.s.
"an seileachan"
Some say they're going to a place called Glory, and I ain't saying it ain't a fact.
But I've heard that I'm on the road to Purgatory, and I don't like the sound of that!
I believe in love, and live my life accordingly,
And I choose: let the mystery be.
~~~~Iris DeMent
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a.s.
Valinor
Apr 20 2007, 11:39am
Post #2 of 4
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apologies for some of the formatting
[In reply to]
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Can't Post
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it won't let me switch to basic editor to get rid of some of that run-on part above the bookcover ("permission denied"!!) and I lack time to re-do. I think it's clear enough, though, to get the gist.
Hopefully.
a.s.
"an seileachan"
Some say they're going to a place called Glory, and I ain't saying it ain't a fact.
But I've heard that I'm on the road to Purgatory, and I don't like the sound of that!
I believe in love, and live my life accordingly,
And I choose: let the mystery be.
~~~~Iris DeMent
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GaladrielTX
Tol Eressea
Apr 20 2007, 12:51pm
Post #3 of 4
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(having only limited early morning Internet time)
I think there may be a few reasons why an appreciation for symmetry may be inherent in human beings. I've read that, biologically, humans seek out mates who are healthy. One indicator of health is regular, symmetrical features. Such an ability to detect symmetry may also be useful for hunters seeking weak prey. This may be reaching a little, but spotting irregularities in landscape may help us with locating where we are. Also, seeing an out of balance herd formation could show a weakness and allow hunters to separate part of the herd or one individual animal from the rest. It could also be useful in building shelters.
Symmetry is useful in art, to a point. Symmetry of course pleases the eye for, among other things, the reasons listed above. Yet completely symmetrical art, or art with any completely predictable pattern, is boring. I think Tolkien knew this. Even on his book cover for The Hobbit, the sun is on one side and the moon on the other, and one is a bit lower than the other.
~~~~~~~~
I used to be GaladrielTX, but it's springtime and I'm shedding.
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Daughter of Nienna
Grey Havens
Apr 22 2007, 7:00am
Post #4 of 4
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Questions:
1) Looking at the artwork in this chapter and comparing it to earlier discussions, can you show some of the subtler symmetries in other Tolkien illustrations?
I would say some of his more abstract art is symmetrical. : #s: 32, 34, 35, #66, #79 (Owlamoo'), #121 ('ElvinKing's Gate'), #142 (The Hobbit binding), #148–154 (Moria Gate). (Nearly all of his book cover designs are symmetrical.)
Note: A few of these above have barely detectable differences, so that they still feel quite symmetrical.
Some of it almost symmetrical but then not quite...it's almost as if he intentionally breaks up the symmetry, which provides visual interest.
example;
#47: 'Glórund Sets Forth to Seek Túrin';
#41: 'Land of Pohja;
#139 ('Hall at Bagend')
2) Is the symmetry seen in Tolkien's drawn art related to the in his written art? How?
I can't say if or how it is related,, exactly but a pattern is certainly revealed within both. In his writing, often with these pairs, comes differences that both reflect and make the differences contrast in meaningful ways: Théoden opposite Denethor, for example.
3) Any comments on symmetry in art? Any thoughts on why we find symmetrical things beautiful?
We humans are symmetrical, as with most creatures. But there are also, typically, some subtle, not so obvious differences. I think one aspect that makes us humans respond to symmetrical things beyond the familiarity with ourselves, is that patterns are revealed. I don't know who said it but it is supposed to be a sign of intelligence in one's ability to recognize patterns.
I don't know about that...
but because I have a awful memory, I pay close attention to patterns as a survival tool. I remember patterns and how things relate to each other, and spatial relationships much more easily than remember names & numbers.
...
Art Gallery Revised, Aloha & Mahalo, Websites Directory
Nienna: “ those who hearken to her learn pity, and endurance in hope . . . All those who wait in Mandos cry to her, for she brings strength to the spirit and turns sorrow to wisdom." — Valaquenta
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