the historical perspective: starting from cave. and rock art scratching and handprints iterative grouping towards early writing attempts via pre-writing schemas
the meaning of accounts aka reports meanwhile over the centuries propaganda: lands-craft Ambrogio Lorenzetti, The Allegory of Good and Bad Government
history *(his-story) paintings*, Leonardo da Vinci, The Battle of Anghiari Michelangelo Buonarroti, Battle of Cascina John Singleton Copley, The Death of Major Peirson
legend painting like Jacques-Louis David, Oath of the Horatii and Jean-Antoine Watteau, The Embarkation for Cythera
in modern data - painting is like writing -> vice versa? cons and pros
painting the mind-image in the way of an account
linear, boustrophedon, circle, spiral -> meander figures
using Meander figures
account and counting
The historical perspective of communication and counting, intertwined with the evolution of painting and writing, reveals a complex journey through time, where artistic expression, symbolic representation, and numerical systems develop in tandem. From early cave art to modern data-driven storytelling, the methods of accounting (both in terms of narration and enumeration) and counting (as a process of organizing or measuring) reflect the evolution of human cognition and culture.
The Historical Perspective: From Cave Art to Early Writing
The story of communication through visual and written means begins in the depths of human prehistory, where cave art, rock scratching, and handprints marked the earliest attempts to account for experience. These primitive “accounts” were not yet linguistic but were essential in expressing the human condition - marking events, animals, and perhaps even cycles of nature.
Iterative Grouping: As early humans progressed, they moved towards more sophisticated methods of visual expression. Iterative groupings of symbols and patterns in cave paintings foreshadowed the development of counting systems. For example, the repetition of handprints or tally marks suggests an early awareness of numerical concepts - a precursor to organized counting systems such as the dozen-based system (12) and later the metric system (10).
From this foundation, early pre-writing schemas began to take shape. The movement from abstract representation in rock art towards organized symbols such as proto-cuneiform signalled the beginning of structured communication. These schemas laid the groundwork for written language, but they were also rooted in an underlying need to account for or report on the world - be it through records of trade, events, or mythological stories.
The Meaning of Accounts over the Centuries: The Role of Propaganda
As societies became more complex, the role of art as an account evolved. No longer just a tool for self-expression or communal record, it became an instrument of propaganda - a way for rulers and elites to craft narratives that served their interests.
One of the most powerful examples of art as an account of political and social order is Ambrogio Lorenzetti’s “The Allegory of Good and Bad Government” (1338–1339). This fresco serves not only as a reflection of political philosophy but as a report - an account - of the ideals of governance. Here, art transcends mere representation to shape the collective consciousness, creating a visual narrative of power and justice.
History Painting: Depicting His-Story
The rise of history painting during the Renaissance brought the concept of “his-story” to the forefront. Artists like Leonardo da Vinci and Michelangelo used painting to depict battles, events, and figures of historical significance, blending narrative and visual art to recount accounts of human endeavour, victory, and loss.
- Leonardo da Vinci’s “The Battle of Anghiari” (1503-1506) and Michelangelo’s “Battle of Cascina” (1504–1506) are prime examples. These works were not only visually striking but also served as visual “accounts” of historical and political events, influencing public perception by their absence.
- John Singleton Copley’s “The Death of Major Peirson” (1783) serves a similar function in a different context, capturing a pivotal moment in British history and turning it into a powerful narrative that immortalized the event - a common one.
Legend Painting: Bridging Myth and Account
Legend paintings, such as Jacques-Louis David’s “Oath of the Horatii” (1784) and Jean-Antoine Watteau’s “The Embarkation for Cythera” (1717), offer another form of account - one that blends historical facts with mythological or legendary elements. These works move beyond direct representation to create allegorical narratives that still function as accounts, though they engage with broader themes of virtue, loyalty, and love.
In Modern Data: Painting is Like Writing – Vice Versa?
With the advent of modernity, the boundary between painting and writing continues to blur, especially in the age of data-driven communication. Both mediums now serve as methods of reporting not just visual or textual stories but complex systems of information.
Pros:
- Painting and writing now converge in the form of infographics, data visualization, and conceptual art, where visual accounts of information are crucial for conveying complex ideas. The process of “painting” an image is akin to writing an account, both driven by the intent to evoke, explain, or narrate.
- Digital art forms allow for the integration of both mediums, where data can be “painted” visually in graphs, charts, or multimedia pieces that also carry the clarity of textual writing.
Cons:
- Abstract data can sometimes obscure meaning. Where writing allows for precise accounts, painting and visual data representations can be open to misinterpretation without the accompanying narrative, reducing the accuracy of the account.
Painting the Mind-Image: Accounts in a Visual Form
Both painting and writing ultimately serve to paint the mind’s image. A narrative text, like a painting, guides the observer’s imagination through scenes, symbols, and stories. In both cases, accounting (reporting) is critical, as each medium structures its information to lead the viewer or reader towards a particular understanding or experience.
Linear, Boustrophedon, Circle, Spiral: Meander Figures
Throughout history, both writing and visual art have employed different structural techniques to represent accounts. Linear writing, boustrophedon (alternating direction), circular, spiral, and meander figures have all been used to represent narratives or cyclical processes in visual and written form. Meander figures, in particular, can be seen as metaphors for both the complexity of narrative structures and the iterative nature of counting systems.
- Linear structure in writing mirrors the traditional narrative arc, leading the reader from one point to the next, much like a continuous flow in a painting.
- Boustrophedon (from the Greek, meaning “as the ox ploughs”) reflects a back-and-forth movement in early texts and paintings, illustrating a rhythmic and cyclical mode of recounting.
- Circular and spiral structures suggest the idea of time and experience being recurring, winding back on itself as seen in mythological storytelling. comparison
- Meander figures, often found in ancient art, serve as both a visual motif and a representation of complex, non-linear narratives, reflecting how stories and accounts twist and turn, much like the progression of thought or historical events.
The Symbiotic Nature of Painting and Writing
Through history, painting and writing have evolved as interrelated forms of accounting, not only recounting the events, emotions, and ideas of their time but also organizing and counting the world in systematic ways. Both mediums have embraced linear, cyclic, and meandering structures to communicate complex accounts, underscoring the ways in which they are deeply connected in their ability to evoke meaning. Just as early humans began with scratching symbols on cave walls to account for their world, modern society continues this process, using both art and writing as tools to paint the stories that define us.
Circular Structures vs Spiral Structures
While both circular and spiral structures evoke the idea of cycles and continuity, they differ in their representation of time, movement, and progression. These structural metaphors apply not only in the fields of art, narrative, and writing but also in broader conceptual understandings of processes and systems. Here’s how they differ:
Circular Structures
A circular structure refers to a pattern where events, themes, or ideas return to their starting point, creating a sense of closure or stasis. It implies a closed loop with no real beginning or end, suggesting that everything returns to its origin. This structure is often associated with repetition and recurrence.
Characteristics:
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Repetition: Events or themes repeat and cycle back to their starting point. There is a strong sense of returning to the beginning.
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Stasis: Since the structure loops back on itself, there’s a sense of stability or unchanging nature. Circular structures may suggest that nothing fundamentally changes, even though events occur.
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Completion: The cycle ends where it started, creating a feeling of completeness. Circular structures are often used to symbolize eternal or timeless concepts.
- Examples in Narrative:
- Mythological and folk stories: In many traditional tales, the hero returns to their village or origin, having undergone trials, but often with no lasting change to the broader world.
- James Joyce’s Finnegans Wake: The novel’s last sentence loops into its first, creating an eternal, circular reading experience.
- Examples in Art:
- Mandalas: In visual art, mandalas are an example of circular structure, representing spiritual journeys that return to the centre.
- Cycles of nature: Art that represents seasonal cycles or life-death-rebirth often uses circular motifs to express the idea of endless recurrence.
Symbolic Meaning:
- Eternal Return: Circular structures often symbolize natural cycles like seasons, day and night, or the life-death-rebirth process.
- Wholeness and Unity: Circular forms suggest completeness, unity, and the idea that everything is interconnected.
- No Progression: In a circular structure, there is no sense of advancement or linear time. Everything repeats, and nothing evolves.
Spiral Structures
A spiral structure, while also cyclical, differs in that it suggests continuous movement outward or inward, incorporating both repetition and progression. Each loop in a spiral moves forward (or inward) to a new place, representing growth, change, or evolution.
Characteristics:
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Progressive Repetition: While spirals repeat the circular form, each cycle progresses, either expanding outward or tightening inward. There’s a forward movement with each loop.
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Evolution and Change: Unlike circular structures, spirals signify that each repetition brings about some form of development, growth, or change. Spirals reflect both continuity and transformation.
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Ongoing Journey: Spirals are often associated with journeys that never fully return to the exact starting point, suggesting an ongoing process without a final closure.
- Examples in Narrative:
- Dante’s Divine Comedy: The spiral journey through Hell, Purgatory, and Heaven represents not just a cyclical journey but an ascension towards a goal (salvation).
- Coming-of-age stories: Many narratives that involve personal growth follow a spiral structure, where a character revisits themes or places but evolves with each return.
- Examples in Art:
- Van Gogh’s The Starry Night: The swirling sky represents both circular and spiral movement, suggesting a cosmic progression.
- Labyrinths: Spiral mazes or labyrinths in art represent a journey that involves repetition and return, but ultimately leads to transformation or revelation.
Symbolic Meaning:
- Growth and Development: Spirals symbolize the idea that each cycle builds upon the last, representing learning, expansion, and evolution.
- Ongoing Process: Unlike circular structures, spirals suggest that a journey is never fully complete, but always moving toward a new state.
- Time and Transformation: Spirals are often used to represent the passage of time, especially in the context of personal or collective change.
Comparison: Circular vs. Spiral Structures
| Aspect | Circular Structures | Spiral Structures |
|---|---|---|
| Repetition | Repetitive cycles with no progression | Repetitive cycles with forward or inward movement |
| Change | Little to no change or evolution | Evolution, growth, and transformation |
| Closure | Returns to the beginning, suggests completeness | Never fully returns to the same point, open-ended |
| Symbolism | Wholeness, unity, eternity | Growth, evolution, continuous change |
| Examples | Mandalas, seasonal cycles, traditional myths | Spirals in nature, personal journeys, labyrinths |
| Narrative Meaning | Suggests stasis, recurrence, or eternal return | Implies progress, development, or transformation |
Both circular and spiral structures reflect cyclical patterns but differ in their representation of time and movement. Circular structures emphasize repetition without change, creating a sense of completion or stasis, while spiral structures introduce the concept of progression and transformation, showing how repeated cycles can lead to growth and evolution. Whether in narrative, art, or thought, both structures have played crucial roles in how we understand and represent life’s patterns, but their implications about time and change offer contrasting worldviews.