Mathematically Proved for the First Time, after 500 Years :
THE
"MONA LISA" PAINTING,
A
PORTRAIT OF THE MOTHER PLANET EARTH
By
Pavel Floresco
The point of the following lines is not to find out why Mona Lisa smiles, but what is the secret message of her smile and, more than that, why every viewer of the famous painting is fascinated or irrationally attracted, in his subconscious, to the being who looks at him from the frame.
Regarding the Da Vinci's friendship with the famous mathematician Luca Pacioli, we finally have, after 500 years, the arithmetic proof of the fact that in the Louvre Museum there is a portrait of the mother planet Earth, not only the figure of a beautiful lady and nothing more.
THE PATH OF A
CHALLENGING HYPOTHESIS
Desiring
to make a portrait of his mother, Caterina, from whom he was separated since
childhood, and intending, in the same time, to artistically represent her as an
universal ideal of femininity, Da Vinci used not only his intuition, his
memory, but he also took physical traits partially identified to other people :
– to
the beautiful Florentine model Lisa Gherardini or Madonna Lisa del Giocondo
after her marriage to Francesco del Giocondo, a theory by the Italian art
historian Giorgio Vasari, confirmed by Sigmund Freud (this is especially about
her smile) and by Armin Schlechter with the renowned Heidelberg Document ;
– to
himself (genetically inherited / controversial self-portrait hypothesis) ;
– to
his disciple, Salai / the androgynous model, a theory by the Italian art
historian Silvano Vinceti.
It
should be noted that the painter also proceeded in this way when he reproduced
Judas in the "Last Supper" or when Leonardo looked for contemporary
faces to represent this character.
Such an
interpretation can logically solve at least two of the most fascinating
mysteries in the history of art : the Da Vinci's self-portrait in the
"Mona Lisa" painting and the true identity of the woman represented
in the same famous masterpiece from the Louvre Museum.
ARGUMENTS IN THE
MIRROR OF TRUTH
Leonardo
da Vinci being one of the friends of the renowned mathematician Luca Pacioli,
this interpretation can be proved arithmetically, but not numerologically
(pseudoscience).
Knowing
the fact that Da Vinci, as his biographers have concluded, did not speak well
the Latin, we have applied a simple form of gematria (an old alphanumeric
decryption procedure) to the alphabet of his maternal language, the Italian
(but the version without foreign influences / lettere straniere– J, K, W, X,
Y), establishing digital values for each letter, corresponding to their natural
order :
A = 1, B = 2, C = 3, D = 4, E = 5, F = 6, G =
7, H = 8, I = 9, L = 10, M = 11, N = 12, O = 13, P = 14, Q = 15, R = 16, S =
17, T = 18, U = 19, V = 20, Z = 21.
By
completing this digital conversion of letters with the mathematical reduction
of decimals or with symbolic arithmetic (the sum of the digits of a number,
specifically exemplified by the sum of the two digits 1 forming the number 11
and so on), can be obtained, by apparent coincidence, the following very
significant final results, which are actually identical :
– MONA LISA (the beautiful Florentine
model, Lisa del Giocondo, Tuscan name, written in dialect by the art historian
Giorgio Vasari with a single N and not with two letters N / apparent
coincidence) = 11 + 13 + 12 + 1 + 10 + 9 + 17 + 1 = 74 = 7 + 4 = 11 = 1 + 1 = 2 ;
– LA GIOCONDA (the same woman, Lisa
Gherardini or Madonna Lisa del Giocondo after her marriage to Francesco del
Giocondo) = IOCONDA = HONDA (Tuscan abbreviation for Gioconda – a theory by the art historian Pietro C. Marani. The
letter H – Honda is written on the back of the painting) = 8 + (13 + 12 + 4 +
1) = 8 + 30 = 38 = 3 + 8 = 11 = 1 + 1= 2 ;
– CATERINA (the Leonardo's mother / native
coincidence) = 3 + 1 + 18 + 5 + 16 + 9 + 12 + 1 = 65 = 6 + 5 = 11 = 1 + 1 = 2 ;
– LEONARDO (the artist himself, but not
Lionardo / apparent coincidence) = 10 + 5 + 13 + 12 + 1 + 16 + 4 + 13 = 74 = 7
+ 4 = 11 = 1 + 1 = 2 ;
– SALAI
(Leonardo's apprentice, Gian Giacomo Caprotti, called Salai, but chosen by his
nickname / apparent coincidence) = 17 + 1 + 10 + 1 + 9 = 38 = 3 + 8 = 11 = 1 +
1 = 2
2 =2
Mona
Lisa (Gioconda) = Caterina = Salai = Leonardo
(*https://en.m.wikipedia.org/wiki/Mona_Lisa#/media/File%3AMona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg)
In
other words, we have in the "Mona Lisa" painting a (multiple)
portrait, inspired by several human faces. This fact explains why, for hundreds
of years, it was not known precisely who the woman really is (Pacifica
Brandani, Lisa Gherardini, Beatrice Sforza and so on).
Leonardo
da Vinci's preference or predilection for the artistic expression of dualities
through the number 2 is visible and observable in his artworks, beginning with
his apprenticeship years in Verrochio's workshop.
***
It is
obvious that we have in the famous masterpiece not only the beautiful lady (the
microcosm), but also the landscape in the background (the macrocosm).
Being
known Leonardo's preference not only for the study of the human body, but also
for the study of natural phenomena – in general and for the study of geology –
in particular, the relationship between the microcosm and the macrocosm makes
possible, symbolically and mathematically, a correlation regarding the common
identity between the two fundamental elements of the painting : the person
represented and the nature depicted, as can be seen in the following lines :
– MONA LISA = 11 + 13 + 12+ 1 + 10 + 9 +
17 + 1 = 74 = 7 + 4 = 11 = 1 + 1 = 2 ;
– LA GIOCONDA = IOCONDA = HONDA = 8 + (13
+ 12 + 4 + 1) = 8 + 30 = 38 = 3 + 8 = 11= 1 + 1 = 2 ;
– EARTH = TERRA = 18 + 5 + 16 + 16 + 1 =
56 = 5 + 6 = 11 = 1 + 1 = 2 ;
2 =2
Mon(n)a
Lisa (La Gioconda) = Earth (Terra)
THEORIES OF ART
HISTORIANS, MATHEMATICALLY CONFIRMED
The
theory of the correlation between the main character Mona Lisa (microcosm) and
the mother planet (macrocosm) was already formulated by other researchers, art
historians and art critics such as, for example, Martin Kemp or Fritjof Capra,
but, for the first time in the history of art, we proved it mathematically.
Martin
Kemp : "When I had to pay sustained attention to the Mona Lisa in my 1981
monograph, I approached the painting via the concept of the microcosm, through
which the geology of the body of the earth and the anatomy of the human body
brought into conjunction" (Kemp 2019 : 67).
Fritjof
Capra : "The central theme of the artist' most famous painting is life's
procreative power, both in the female body and in the body of the living
Earth" (Capra 2013 : 20).
The
fact that we have in the Louvre Museum a feminized portrait of the mother
planet explains the fascination that the represented woman and her mysterious
smile exerted on the public, which subconsciously finds its primordial origins.
A SHORT SENTENCE
INSTEAD OF THE FINAL CONCLUSION
To
create a portrait of his mother Caterina, as a universal ideal of motherhood
and, in fact, a portrait of the mother planet Earth – theory by Martin Kemp or
Fritjof Capra, Leonardo used :
– maternal
facial features, found in the model Lisa Gherardini or Mona Lisa, theory by Sigmund Freud ;
–
maternal facial features from himself (feminized self-portrait) ;
–
androgynous facial features from the apprentice Salai, theory by Silvano
Vinceti.
Reference
List
Kemp, Martin, Living with
Leonardo : Fifty Years of Sanity and Insanity in the Art World and Beyond,
London : Thames & Hudson, 2018 and 2019.
Capra, Fritjof, Learning from
Leonardo : Decoding the Notebooks of a Genius, San Francisco :
Berrett-Koehler Publishers, Inc., 2013
