\u0160iame straipsnyje ap\u017evelgsime tris mokslo technikas, kuri\u0173 pagalba nema\u017eai meninink\u0173 suk\u016br\u0117 savo \u0161edevrus. Taigi, pirmyn!<\/p>\n\n\n\n
Spalv\u0173 teorija ir puantilizmas tapyboje<\/h4>\n\n\n\n
Pranc\u016bz\u0173 chemikas Michelis Chevreulis (pranc. Michel Eug\u00e8ne Chevreul<\/em>, 1786-1824) eksperimentavo su spalvomis, kontrastu ir gretim\u0173 spalv\u0173 poveikiu \u017emogaus reg\u0117jimo suvokimui. Jo atradimai pad\u0117jo pagrind\u0105 spalv\u0173 teorijai ir paskatino sukurti spalv\u0173 rat\u01051<\/sup><\/a>.<\/p>\n\n\n\n Po to kai Chevreulis tapo Gobelins Royal Tapestry works<\/em> direktoriumi Pary\u017eiuje, viena i\u0161 jo u\u017eduo\u010di\u0173 buvo nagrin\u0117ti skundus d\u0117l spalv\u0173 nenuoseklumo da\u017eytuose audiniuose. Chevreulis nustat\u0117, kad audinio spalva gali pasikeisti, kai kei\u010diasi \u0161alia esan\u010dios spalvos, ta\u010diau tai yra optinis efektas, o ne da\u017eymo defektas. 1839 m. jis i\u0161leido knyg\u0105 apie \u201evienalaik\u012f spalv\u0173 kontrast\u0105\u201c3<\/sup><\/a>.<\/p>\n\n\n\n Perskait\u0119s Chevreulio knyg\u0105 apie spalv\u0173 kontrast\u0105, prancuz\u0173 dailininkas \u017dor\u017eas Sera (pranc. Georges Seurat, <\/em>1859-1891), prad\u0117jo vystyti du naujus tapybos metodus: divizionizm\u0105 (kitaip chromoliuminarizm\u0105) ir puantilizm\u0105 (pranc. pointillisme<\/em>). Novatori\u0161k\u0173 spalv\u0173 teorij\u0173 vedamas, Sera suk\u016br\u0117 savo \u0161edevr\u0105 Sekmadienio popiet\u0117 La Grande Jatte saloje <\/em>(pranc. Un dimanche apr\u00e8s-midi \u00e0 l\u2019\u00cele de la Grande Jatte<\/em>, 1884\u20131886).<\/p>\n\n\n\n \u0160i\u0173 dviej\u0173 tapybos metod\u0173 esm\u0117 priklauso nuo \u017ei\u016brovo aki\u0173 ir smegen\u0173 \u012fgimto geb\u0117jimo sulieti spalv\u0173 d\u0117mes \u012f platesn\u012f ton\u0173 diapazon\u0105. Kitaip sakant, spalv\u0173 sujungimas vyksta \u017ei\u016brovui \u017ei\u016brint \u012f paveiksl\u0105, o ne tapytojui fizi\u0161kai mai\u0161ant da\u017eus ant palet\u0117s.<\/p>\n\n\n\n Pavyzd\u017eiui, sultinga, tamsiai \u017ealia spalva (angl. sap green<\/em>) gaunama i\u0161 tam tikr\u0173 atspalvi\u0173 geltonos, m\u0117lynos ir tamsiai raudonos spalv\u0173, vyraujant m\u0117lynai, o deginta siena (angl. burnt sienna<\/em>) \u2013 i\u0161 oran\u017ein\u0117s ir violetin\u0117s spalv\u0173.<\/p>\n\n\n\n Divisionizmas, pagr\u012fstas spalv\u0173 teorija, yra labiau techninis to pa\u010dio metodo variantas, kai tapoma dideliais \u012f kub\u0105 pana\u0161iais pot\u0117piais; o puantilizmas yra labiau orientuotas \u012f specifin\u012f stili\u0173, kai tapoma ma\u017eais ta\u0161keliais ar pot\u0117piais, kurie susijungia \u012f vien\u0105, nedalom\u0105 visum\u0105. \u0160ias tapybos technikas savo k\u016bryboje v\u0117liau pritaik\u0117 Vincentas van Gogas, Pablo Picasso, Anri Matissas, Endi Varholas, Rojus Lichten\u0161teinas ir daugelis kit\u0173 meninink\u01735<\/sup><\/a>,<\/sup>6<\/sup><\/a>,<\/sup>7<\/sup><\/a>.<\/p>\n\n\n\n Mauricas Kornelis E\u0161eris (ol. Maurits Cornelis Escher<\/em>, 1898-1972) yra vienas i\u0161 garsiausi\u0173 ir labiausiai reprodukuojam\u0173 XX a. moderniojo meno grafik\u0173. Oland\u0173 grafikas taip pat yra \u017einomas savo knyg\u0173 iliustravimo, med\u017eio gravi\u016br\u0173, gobelen\u0173, fresk\u0173 ir pa\u0161to \u017eenkl\u0173 dizaino darbais. Jis k\u016br\u0117 reali\u0173 objekt\u0173, pereinan\u010di\u0173 \u012f kitus objektus, optin\u0117s apgaul\u0117s efektus sukurian\u010dius k\u016brinius. E\u0161eris taip pat tyrin\u0117jo begalyb\u0117s, sud\u0117ting\u0173 architekt\u016brini\u0173 labirint\u0173, apiman\u010di\u0173 perspektyvinius \u017eaidimus, ir ne\u012fmanom\u0173 erdvi\u0173 vaizdavim\u0105 <\/sup>9<\/sup><\/a>,<\/sup>10<\/sup><\/a>.<\/p>\n\n\n\n Geras geometrijos ir matematini\u0173 s\u0105vok\u0173 supratimas leido E\u0161eriui \u012fgyvendinti kylan\u010dias matematikos pasaulio id\u0117jas savo meno k\u016briniuose. Nors pats jis nebuvo matematikas, neretai pasiskolindavo id\u0117jas i\u0161 matematikos pasaulio, sek\u0117 mokslines publikacijas \u0161ioje srityje. Beje, sulaukus pripa\u017einimo meno srityje, tuometiniai matematikai neretai kreip\u0117si \u012f E\u0161er\u012f profesini\u0173 patarim\u0173 ir kviesdavo \u012f mokslo diskusijas!<\/p>\n\n\n\n Darbuose su perspektyva E\u0161eris manipuliavo fiksuotais parametrais, tokiais kaip susilietimo ta\u0161kai (angl. vanishing points<\/em>) ir gravitacija. Taip, \u201eSpausdini\u0173 galerija\u201c (angl. \u201ePrint Gallery<\/em>\u201c, 1956) i\u0161kreipia perspektyv\u0105, visi\u0161kai pa\u0161alindama fiksuot\u0173 susilietimo ta\u0161k\u0173 parametrus. E\u0161eris sukuria vaizd\u0105, kuriame vidus (paveikslo kair\u0117je), tampa i\u0161ore (de\u0161in\u0117je).<\/p>\n\n\n\n \u0160iam darbui b\u016bdingi bendri principai su ne\u012fmanomomis formomis, kai fono komponentai tampa priekinio plano komponentais. Nors jo sukurtos perspektyvos gali atrodyti nerealios, jos reprezentuoja pasaul\u012f, kuriame galioja jo taisykl\u0117s.<\/p>\n\n\n\n Savo darbuose E\u0161eris naudojo ir \u017einias apie daugiasienius, kitaip Platono k\u016bnus (angl. Platonic solids<\/em> arba regular solids<\/em>). Nors kristalin\u0117se strukt\u016brose nat\u016braliai susidaro teseliuojantys12<\/sup><\/a> daugiakampiai, jie taip pat gali b\u016bti kartojami, kad susidaryt\u0173 kiet\u0173j\u0173 med\u017eiag\u0173 pavir\u0161ius. Tai ir buvo E\u0161erio didelio \u012fkv\u0117pimo \u0161altinis.<\/p>\n\n\n\n E\u0161eris eksperimentavo derindamas \u0161ias formas, kad sukurt\u0173 naujas. Pagrindin\u0119 \u201e\u017dvaig\u017ed\u017ei\u0173\u201c (angl. \u201eStars<\/em>\u201c, 1948) form\u0105 sudaro trys susipyn\u0119 oktaedrai.<\/p>\n\n\n\n E\u0161erio susidom\u0117jimas \u0161viesos atspind\u017eiu atskleid\u0117 ne tik paties objekto, bet ir j\u012f supan\u010di\u0173 objekt\u0173 form\u0105. \u201eTrys sferos II\u201c (angl. \u201eThree shperes II<\/em>\u201c, 1946) parodo, kad identi\u0161k\u0173 form\u0173 objekt\u0173 i\u0161vaizda skiriasi d\u0117l to, kad \u0161viesa nevienodai atsispindi nuo skirting\u0173 pavir\u0161i\u0173. Centrin\u0117 sfera atspindi vis\u0105 aplink\u0105, o de\u0161in\u0117je esanti sfera neatspindi nieko.<\/p>\n\n\n\n E\u0161eris tyrin\u0117jo begalyb\u0119 taikydamas ir manipuliuodamas matematiniais principais. Kanados geometro H.S.M. Kokseterio (angl. Harold Scott MacDonald Coxeter<\/em>, 1907-2003) hiperbolin\u0117s geometrijos leidinyje pademonstravo begalyb\u0119 grafine prasme. Kai trikampiai pasiekia apskritimo kra\u0161t\u0105, jie tampa be galo ma\u017ei. \u0160is leidinys kartu su v\u0117lesniu E\u0161erio ir Kokseterio susira\u0161in\u0117jimu pad\u0117jo sukurti darb\u0173 serij\u0105 \u201eApskritimo riba\u201c (angl. \u201eCircle limit<\/em>\u201c, 1969). Ta\u010diau vietoj trikampi\u0173 E\u0161eris panaudojo savo teseliacijas. 1997 m. Kokseteris paskelb\u0117 straipsn\u012f, kuriame \u012frod\u0117, kad 1958 m. E\u0161erio med\u017eio rai\u017einys \u201eCircle Limit III\u201c buvo matemati\u0161kai tobulas15<\/sup><\/a>.<\/p>\n\n\n\n Camera obscura<\/em> arba Pinhole<\/em> (i\u0161 lotyn\u0173 \u2013 tamsus kambarys<\/em>) tai optinis \u012frenginys, kuriame pro ma\u017e\u0105 skylut\u0119 \u012fsiskverbianti \u0161viesa ant visi\u0161kai tamsios patalpos sienos projektuoja apverst\u0105 vaizd\u0105. Metodas naudotas dailinink\u0173 ir tur\u0117j\u0119s \u012ftakos fotografijos atsiradimui16<\/sup><\/a>.<\/p>\n\n\n\n Kin\u0173 filosofas Mozi buvo pirmasis \u017emogus, apra\u0161\u0119s camera obscura<\/em>, kuri v\u0117liau buvo tyrin\u0117ta graik\u0173 filosofo Aristotelio. XI am\u017eiuje, mokslininkas ir filosofas Ibn al-Haytamas (taip pat \u017einomas kaip Alhazenas) pasi\u016bl\u0117, kad ekranas gal\u0117t\u0173 b\u016bti naudojamas i\u0161oriniam vaizdui projektuoti. Leonardas da Vin\u010dis, susipa\u017ein\u0119s su Alhazeno darbais, paskelb\u0117 pirm\u0105j\u012f nuosekl\u0173 camera obscura<\/em> apra\u0161ym\u0105 savo Codex Atlanticus<\/em> veikale (1502).<\/p>\n\n\n\n 2001 m. garsus brit\u0173 menininkas Deividas Hoknis (angl. David Hockney<\/em>, gim\u0119s 1937) i\u0161leido savo knyg\u0105 \u201eSlaptos \u017einios\u201c, kurioje teigiama, kad daugelis did\u017ei\u0173j\u0173 Renesanso epochos meistr\u0173 ir dar ankstesni\u0173 meninink\u0173, \u012fskaitant Jan\u0105 Vermejer\u012f (angl. Johannes Vermeer<\/em>), Karavad\u017e\u0105 (angl. Caravaggio<\/em>), Leonard\u0105 da Vin\u010d\u012f, Ogiust\u0105 Engr\u0105 (angl. Jean Ingres<\/em>), naudojo optinius prietaisus, tokius kaip camera obscura <\/em>ir \u012fgaubtus veidrod\u017eius, kad pad\u0117t\u0173 jiems sukurti tiksli\u0105 kompozicij\u0173 perspektyv\u0105. Savo tyrim\u0173 metu Hoknis bendradarbiavo su fiziku ir meno teoretiku \u010c. Falko (angl. Charles M. Falco<\/em>). Hoknio teorija, oficialiai vadinama Hoknio-Falko teze, teigia, kad realizmo pa\u017eang\u0105 Vakar\u0173 mene nuo Renesanso laik\u0173 l\u0117m\u0117 mechanin\u0117 optika, o ne tuometini\u0173 meninink\u0173 tobuli tapybos \u012fg\u016bd\u017eiai ir geb\u0117jimai.<\/p>\n\n\n\n Jano van Eiko \u201eArnolfini portretas\u201c (1434) yra vienas pagrindini\u0173 to pavyzd\u017ei\u0173. \u0160is paveikslas atskleid\u017eia trimati\u0161kum\u0105, individualum\u0105 ir psichologin\u012f gyl\u012f, kurio nepasteb\u0117ta ankstesniuose dailininko paveiksluose, o Hoknis ir Falko yra \u012fsitikin\u0119, kad tai i\u0161 dalies yra d\u0117l van Eiko naudojam\u0173 optini\u0173 prietais\u017318<\/sup><\/a>,<\/sup>19<\/sup><\/a>.<\/p>\n\n\n\n Menas ir mokslas visada \u0117jo ir eina greta. Pasiekimai moksle suteikia \u012frankius ir galimybes menininkams kurti ir ie\u0161koti nauj\u0173 b\u016bd\u0173 perteikti mus supant\u012f pasaul\u012f per meno prizme. Tuo tarpu, neretai, pra\u0117jus kokiam \u0161imtme\u010diui, futuristiniai meninik\u0173 darbai \u012fkv\u0117pia mokslininkus \u012fgyvendinti fantazijas ir utopines id\u0117jas, atvaizduotas meno k\u016briniuose.<\/p>\n\n\n\n Jei jau susiejote savo profesin\u0119 karjer\u0105 su tiksliais mokslais, o viduje knib\u017eda \u201ek\u016br\u0117jas\u201c \u2013 j\u016bs\u0173 profesin\u0117s \u017einios ir patirtis gali tapti unikaliu, tik jums suteiktu \u012frankiu bandymuose mene. O jei susidom\u0117j\u0119, skaitote \u0161\u012f straipsn\u012f i\u0161 meno parapijos \u2013 gal b\u016bt at\u0117jo laikas panarplioti chemijos vadov\u0117l\u012f?:)\u2026<\/p>\n\n\n\n Pastaba:<\/strong> Manoma, kad ma\u017eos rai\u0161kos meno k\u016brini\u0173 vaizd\u0173 naudojimas kriti\u0161kai komentuojant aptariam\u0105 k\u016brin\u012f, meno k\u016brinio menin\u012f \u017eanr\u0105 ar technik\u0105 arba mokykl\u0105, kuriai menininkas priklauso, laikomas s\u0105\u017einingu naudojimu (angl. fair use<\/em>).<\/p>\n\n\n\n \u0160altiniai:<\/strong><\/p>\n\n\n\n 1<\/a><\/sup> When Art and Science Meet: Georges Seurat, 2018, \u0161altinis: https:\/\/www.artfixdaily.com\/blogs\/post\/3630-when-art-and-science-meet-georges-seurat<\/a> https:\/\/www.artfixdaily.com\/blogs\/post\/3630-when-art-and-science-meet-georges-seurat<\/a><\/p>\n\n\n\n 2<\/a><\/sup>Spalv\u0173 teorija, \u0161altinis: https:\/\/www.gvaat.com\/\/wp-content\/uploads\/2019\/09\/additive_color-process_www.gvaat_.com_.gif<\/a><\/p>\n\n\n\n 3<\/a><\/sup> Scientist of the Day \u2013 Michel Chevreul, 2016, \u0161altinis: https:\/\/www.lindahall.org\/michel-chevreul\/<\/a><\/p>\n\n\n\n 4<\/a><\/sup> Iliustracija \u201ePaul Signac Femmes au puits 1892d\u00e9tailcouleur.jpg\u201c, failas perdarytas, kad b\u016bt\u0173 galima atskirti detales https:\/\/en.wikipedia.org\/wiki\/File:Paul_Signac_Femmes_au_puits_1892d%C3%A9tailcouleur.jpg<\/a><\/p>\n\n\n\n 5<\/a><\/sup> How a Chemist Sparked an Art Movement, 2010, \u0161altinis: https:\/\/historyofyesterday.com\/how-a-chemist-sparked-an-art-movement-3c7bc2b365df<\/a><\/p>\n\n\n\n 6<\/a><\/sup> Puantilizmas, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Puantilizmas<\/a><\/p>\n\n\n\n 7<\/a><\/sup> Divisionism, \u0161altinis: https:\/\/www.artlex.com\/art-terms\/d\/divisionism\/<\/a><\/p>\n\n\n\n 8<\/a><\/sup> Iliustracija \u201eSunday Afternoon on the Island of La Grande Jatte\u201c, \u0161altinis: https:\/\/www.wikiart.org\/en\/georges-seurat\/sunday-afternoon-on-the-island-of-la-grande-jatte-1886<\/a><\/p>\n\n\n\n 9<\/a><\/sup> Maurits Cornelis Escher, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Maurits_Cornelis_Escher<\/a><\/p>\n\n\n\n 10<\/a><\/sup> M.C. Escher \u2014 Life and Work, \u0161altinis: https:\/\/www.nga.gov\/features\/slideshows\/mc-escher-life-and-work.html<\/a><\/p>\n\n\n\n 11<\/a><\/sup> Iliustracija \u201ePrint gallery\u201c, \u0161altinis: https:\/\/uploads3.wikiart.org\/images\/m-c-escher\/print-gallery.jpg!PinterestSmall.jpg<\/a><\/p>\n\n\n\n 12<\/a><\/sup> Teseliacija yra pavir\u0161iaus, da\u017enai plok\u0161tumos, padengimas be persidengim\u0173 ir tarp\u0173, naudojant vien\u0105 ar daugiau geometrini\u0173 form\u0173. Pavyzd\u017eiui: mozaika, plyteli\u0173 ar parketo klojimas.<\/p>\n\n\n\n 13<\/a><\/sup> Dodekahedrono 3D paveiksl\u0117lis \u2013 Leonardo da Vin\u010dio iliustracija i\u0161 Pa\u010diolio (angl. Luca Pacioli<\/em>) veikalo \u201c Divina proportione \u201c (liet. \u201eAukso pj\u016bvis<\/em>\u201c, 1509), \u0161altinis: https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg<\/a><\/p>\n\n\n\n 14<\/a><\/sup> Review: The amazing world of M C Escher, 2015-2016, \u0161altinis: https:\/\/www.tessellationart.com\/review-the-amazing-world-of-m-c-escher\/#perspective<\/a><\/p>\n\n\n\n 15<\/a><\/sup> H.S.M. Coxeter, 2022, \u0161altinis: https:\/\/www.britannica.com\/biography\/H-S-M-Coxeter<\/a><\/p>\n\n\n\n 16<\/a><\/sup> Camera obscura, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Camera_obscura<\/a><\/p>\n\n\n\n 17<\/a><\/sup> Illustration of the camera obscura principle from James Ayscough\u2019s A short account of the eye and nature of vision (1755 fourth edition), \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:1755_james_ayscough.jpg<\/a><\/p>\n\n\n\n 18<\/a><\/sup> Agents of Change: Camera Obscura, \u0161altinis: https:\/\/cutt.ly\/qDs7Hde<\/a><\/p>\n\n\n\n 19<\/a><\/sup> The Camera Obscura and Painting, 2019, \u0161altinis: https:\/\/www.liveabout.com\/camera-obscura-and-painting-2578256<\/a><\/p>\n\n\n\n 20<\/a><\/sup> The Arnolfini Portrait, Jan van Eyck, oil on oak, 1434. National Gallery, London, \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:Van_Eyck_-_Arnolfini_Portrait.jpg<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Alisa Palavenien\u0117 Neretai net nesusim\u0105stome kaip yra susipyn\u0119s mokslas ir menas. Vieni i\u0161 ry\u0161kiausi\u0173 to pavyzd\u017ei\u0173 istorijoje yra Leonardo da Vin\u010dio darbai meno, architekt\u016bros, anatomijos srityse bei auksin\u0117s taisykl\u0117s (angl. golden […]<\/p>\n","protected":false},"author":2,"featured_media":7633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8],"tags":[45,138,150],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rasiniai","tag-daile","tag-mokslas-ir-menas","tag-optika","pb-post","pb-item","pb-col-xl-4 pb-col-m-6 pb-col-s-12","pb-animate pb-animated "],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/Pav.2-3.jpg","_links":{"self":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/comments?post=6526"}],"version-history":[{"count":1,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions"}],"predecessor-version":[{"id":7634,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions\/7634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media\/7633"}],"wp:attachment":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media?parent=6526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/categories?post=6526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/tags?post=6526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/pav.1.gif\")
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<\/a>Matematika ir geometrija grafikoje<\/h4>\n\n\n\n
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<\/a>I\u0161man\u016bs Renesanso dailinink\u0173 prietaisai<\/h4>\n\n\n\n
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<\/a>Epilogas<\/h4>\n\n\n\n
![https:\/\/www.gvaat.com\/\/wp-content\/uploads\/2019\/09\/additive_color-process_www.gvaat_.com_.gif<\/a><\/p>\n\n\n\n3<\/a><\/sup> Scientist of the Day \u2013 Michel Chevreul, 2016, \u0161altinis: https:\/\/www.lindahall.org\/michel-chevreul\/<\/a><\/p>\n\n\n\n4<\/a><\/sup> Iliustracija \u201ePaul Signac Femmes au puits 1892d\u00e9tailcouleur.jpg\u201c, failas perdarytas, kad b\u016bt\u0173 galima atskirti detales https:\/\/en.wikipedia.org\/wiki\/File:Paul_Signac_Femmes_au_puits_1892d%C3%A9tailcouleur.jpg<\/a><\/p>\n\n\n\n5<\/a><\/sup> How a Chemist Sparked an Art Movement, 2010, \u0161altinis: https:\/\/historyofyesterday.com\/how-a-chemist-sparked-an-art-movement-3c7bc2b365df<\/a><\/p>\n\n\n\n6<\/a><\/sup> Puantilizmas, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Puantilizmas<\/a><\/p>\n\n\n\n7<\/a><\/sup> Divisionism, \u0161altinis: https:\/\/www.artlex.com\/art-terms\/d\/divisionism\/<\/a><\/p>\n\n\n\n8<\/a><\/sup> Iliustracija \u201eSunday Afternoon on the Island of La Grande Jatte\u201c, \u0161altinis: https:\/\/www.wikiart.org\/en\/georges-seurat\/sunday-afternoon-on-the-island-of-la-grande-jatte-1886<\/a><\/p>\n\n\n\n9<\/a><\/sup> Maurits Cornelis Escher, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Maurits_Cornelis_Escher<\/a><\/p>\n\n\n\n10<\/a><\/sup> M.C. Escher \u2014 Life and Work, \u0161altinis: https:\/\/www.nga.gov\/features\/slideshows\/mc-escher-life-and-work.html<\/a><\/p>\n\n\n\n11<\/a><\/sup> Iliustracija \u201ePrint gallery\u201c, \u0161altinis: https:\/\/uploads3.wikiart.org\/images\/m-c-escher\/print-gallery.jpg!PinterestSmall.jpg<\/a><\/p>\n\n\n\n12<\/a><\/sup> Teseliacija yra pavir\u0161iaus, da\u017enai plok\u0161tumos, padengimas be persidengim\u0173 ir tarp\u0173, naudojant vien\u0105 ar daugiau geometrini\u0173 form\u0173. Pavyzd\u017eiui: mozaika, plyteli\u0173 ar parketo klojimas.<\/p>\n\n\n\n13<\/a><\/sup> Dodekahedrono 3D paveiksl\u0117lis \u2013 Leonardo da Vin\u010dio iliustracija i\u0161 Pa\u010diolio (angl. Luca Pacioli<\/em>) veikalo \u201c Divina proportione \u201c (liet. \u201eAukso pj\u016bvis<\/em>\u201c, 1509), \u0161altinis: https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg<\/a><\/p>\n\n\n\n14<\/a><\/sup> Review: The amazing world of M C Escher, 2015-2016, \u0161altinis: https:\/\/www.tessellationart.com\/review-the-amazing-world-of-m-c-escher\/#perspective<\/a><\/p>\n\n\n\n15<\/a><\/sup> H.S.M. Coxeter, 2022, \u0161altinis: https:\/\/www.britannica.com\/biography\/H-S-M-Coxeter<\/a><\/p>\n\n\n\n16<\/a><\/sup> Camera obscura, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Camera_obscura<\/a><\/p>\n\n\n\n17<\/a><\/sup> Illustration of the camera obscura principle from James Ayscough\u2019s A short account of the eye and nature of vision (1755 fourth edition), \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:1755_james_ayscough.jpg<\/a><\/p>\n\n\n\n18<\/a><\/sup> Agents of Change: Camera Obscura, \u0161altinis: https:\/\/cutt.ly\/qDs7Hde<\/a><\/p>\n\n\n\n19<\/a><\/sup> The Camera Obscura and Painting, 2019, \u0161altinis: https:\/\/www.liveabout.com\/camera-obscura-and-painting-2578256<\/a><\/p>\n\n\n\n20<\/a><\/sup> The Arnolfini Portrait, Jan van Eyck, oil on oak, 1434. National Gallery, London, \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:Van_Eyck_-_Arnolfini_Portrait.jpg<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Alisa Palavenien\u0117 Neretai net nesusim\u0105stome kaip yra susipyn\u0119s mokslas ir menas. Vieni i\u0161 ry\u0161kiausi\u0173 to pavyzd\u017ei\u0173 istorijoje yra Leonardo da Vin\u010dio darbai meno, architekt\u016bros, anatomijos srityse bei auksin\u0117s taisykl\u0117s (angl. golden […]<\/p>\n","protected":false},"author":2,"featured_media":7633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8],"tags":[45,138,150],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rasiniai","tag-daile","tag-mokslas-ir-menas","tag-optika","pb-post","pb-item","pb-col-xl-4 pb-col-m-6 pb-col-s-12","pb-animate pb-animated "],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/Pav.2-3.jpg","_links":{"self":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/comments?post=6526"}],"version-history":[{"count":1,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions"}],"predecessor-version":[{"id":7634,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions\/7634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media\/7633"}],"wp:attachment":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media?parent=6526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/categories?post=6526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/tags?post=6526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.gvaat.com\/\/wp-content\/uploads\/2019\/09\/additive_color-process_www.gvaat_.com_.gif\"){kind=link}
![https:\/\/en.wikipedia.org\/wiki\/File:Paul_Signac_Femmes_au_puits_1892d%C3%A9tailcouleur.jpg<\/a><\/p>\n\n\n\n5<\/a><\/sup> How a Chemist Sparked an Art Movement, 2010, \u0161altinis: https:\/\/historyofyesterday.com\/how-a-chemist-sparked-an-art-movement-3c7bc2b365df<\/a><\/p>\n\n\n\n6<\/a><\/sup> Puantilizmas, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Puantilizmas<\/a><\/p>\n\n\n\n7<\/a><\/sup> Divisionism, \u0161altinis: https:\/\/www.artlex.com\/art-terms\/d\/divisionism\/<\/a><\/p>\n\n\n\n8<\/a><\/sup> Iliustracija \u201eSunday Afternoon on the Island of La Grande Jatte\u201c, \u0161altinis: https:\/\/www.wikiart.org\/en\/georges-seurat\/sunday-afternoon-on-the-island-of-la-grande-jatte-1886<\/a><\/p>\n\n\n\n9<\/a><\/sup> Maurits Cornelis Escher, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Maurits_Cornelis_Escher<\/a><\/p>\n\n\n\n10<\/a><\/sup> M.C. Escher \u2014 Life and Work, \u0161altinis: https:\/\/www.nga.gov\/features\/slideshows\/mc-escher-life-and-work.html<\/a><\/p>\n\n\n\n11<\/a><\/sup> Iliustracija \u201ePrint gallery\u201c, \u0161altinis: https:\/\/uploads3.wikiart.org\/images\/m-c-escher\/print-gallery.jpg!PinterestSmall.jpg<\/a><\/p>\n\n\n\n12<\/a><\/sup> Teseliacija yra pavir\u0161iaus, da\u017enai plok\u0161tumos, padengimas be persidengim\u0173 ir tarp\u0173, naudojant vien\u0105 ar daugiau geometrini\u0173 form\u0173. Pavyzd\u017eiui: mozaika, plyteli\u0173 ar parketo klojimas.<\/p>\n\n\n\n13<\/a><\/sup> Dodekahedrono 3D paveiksl\u0117lis \u2013 Leonardo da Vin\u010dio iliustracija i\u0161 Pa\u010diolio (angl. Luca Pacioli<\/em>) veikalo \u201c Divina proportione \u201c (liet. \u201eAukso pj\u016bvis<\/em>\u201c, 1509), \u0161altinis: https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg<\/a><\/p>\n\n\n\n14<\/a><\/sup> Review: The amazing world of M C Escher, 2015-2016, \u0161altinis: https:\/\/www.tessellationart.com\/review-the-amazing-world-of-m-c-escher\/#perspective<\/a><\/p>\n\n\n\n15<\/a><\/sup> H.S.M. Coxeter, 2022, \u0161altinis: https:\/\/www.britannica.com\/biography\/H-S-M-Coxeter<\/a><\/p>\n\n\n\n16<\/a><\/sup> Camera obscura, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Camera_obscura<\/a><\/p>\n\n\n\n17<\/a><\/sup> Illustration of the camera obscura principle from James Ayscough\u2019s A short account of the eye and nature of vision (1755 fourth edition), \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:1755_james_ayscough.jpg<\/a><\/p>\n\n\n\n18<\/a><\/sup> Agents of Change: Camera Obscura, \u0161altinis: https:\/\/cutt.ly\/qDs7Hde<\/a><\/p>\n\n\n\n19<\/a><\/sup> The Camera Obscura and Painting, 2019, \u0161altinis: https:\/\/www.liveabout.com\/camera-obscura-and-painting-2578256<\/a><\/p>\n\n\n\n20<\/a><\/sup> The Arnolfini Portrait, Jan van Eyck, oil on oak, 1434. National Gallery, London, \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:Van_Eyck_-_Arnolfini_Portrait.jpg<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Alisa Palavenien\u0117 Neretai net nesusim\u0105stome kaip yra susipyn\u0119s mokslas ir menas. Vieni i\u0161 ry\u0161kiausi\u0173 to pavyzd\u017ei\u0173 istorijoje yra Leonardo da Vin\u010dio darbai meno, architekt\u016bros, anatomijos srityse bei auksin\u0117s taisykl\u0117s (angl. golden […]<\/p>\n","protected":false},"author":2,"featured_media":7633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8],"tags":[45,138,150],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rasiniai","tag-daile","tag-mokslas-ir-menas","tag-optika","pb-post","pb-item","pb-col-xl-4 pb-col-m-6 pb-col-s-12","pb-animate pb-animated "],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/Pav.2-3.jpg","_links":{"self":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/comments?post=6526"}],"version-history":[{"count":1,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions"}],"predecessor-version":[{"id":7634,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions\/7634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media\/7633"}],"wp:attachment":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media?parent=6526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/categories?post=6526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/tags?post=6526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/en.wikipedia.org\/wiki\/File:Paul_Signac_Femmes_au_puits_1892d%C3%A9tailcouleur.jpg\"){kind=link}
![https:\/\/uploads3.wikiart.org\/images\/m-c-escher\/print-gallery.jpg!PinterestSmall.jpg<\/a><\/p>\n\n\n\n12<\/a><\/sup> Teseliacija yra pavir\u0161iaus, da\u017enai plok\u0161tumos, padengimas be persidengim\u0173 ir tarp\u0173, naudojant vien\u0105 ar daugiau geometrini\u0173 form\u0173. Pavyzd\u017eiui: mozaika, plyteli\u0173 ar parketo klojimas.<\/p>\n\n\n\n13<\/a><\/sup> Dodekahedrono 3D paveiksl\u0117lis \u2013 Leonardo da Vin\u010dio iliustracija i\u0161 Pa\u010diolio (angl. Luca Pacioli<\/em>) veikalo \u201c Divina proportione \u201c (liet. \u201eAukso pj\u016bvis<\/em>\u201c, 1509), \u0161altinis: https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg<\/a><\/p>\n\n\n\n14<\/a><\/sup> Review: The amazing world of M C Escher, 2015-2016, \u0161altinis: https:\/\/www.tessellationart.com\/review-the-amazing-world-of-m-c-escher\/#perspective<\/a><\/p>\n\n\n\n15<\/a><\/sup> H.S.M. Coxeter, 2022, \u0161altinis: https:\/\/www.britannica.com\/biography\/H-S-M-Coxeter<\/a><\/p>\n\n\n\n16<\/a><\/sup> Camera obscura, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Camera_obscura<\/a><\/p>\n\n\n\n17<\/a><\/sup> Illustration of the camera obscura principle from James Ayscough\u2019s A short account of the eye and nature of vision (1755 fourth edition), \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:1755_james_ayscough.jpg<\/a><\/p>\n\n\n\n18<\/a><\/sup> Agents of Change: Camera Obscura, \u0161altinis: https:\/\/cutt.ly\/qDs7Hde<\/a><\/p>\n\n\n\n19<\/a><\/sup> The Camera Obscura and Painting, 2019, \u0161altinis: https:\/\/www.liveabout.com\/camera-obscura-and-painting-2578256<\/a><\/p>\n\n\n\n20<\/a><\/sup> The Arnolfini Portrait, Jan van Eyck, oil on oak, 1434. National Gallery, London, \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:Van_Eyck_-_Arnolfini_Portrait.jpg<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Alisa Palavenien\u0117 Neretai net nesusim\u0105stome kaip yra susipyn\u0119s mokslas ir menas. Vieni i\u0161 ry\u0161kiausi\u0173 to pavyzd\u017ei\u0173 istorijoje yra Leonardo da Vin\u010dio darbai meno, architekt\u016bros, anatomijos srityse bei auksin\u0117s taisykl\u0117s (angl. golden […]<\/p>\n","protected":false},"author":2,"featured_media":7633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8],"tags":[45,138,150],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rasiniai","tag-daile","tag-mokslas-ir-menas","tag-optika","pb-post","pb-item","pb-col-xl-4 pb-col-m-6 pb-col-s-12","pb-animate pb-animated "],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/Pav.2-3.jpg","_links":{"self":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/comments?post=6526"}],"version-history":[{"count":1,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions"}],"predecessor-version":[{"id":7634,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions\/7634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media\/7633"}],"wp:attachment":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media?parent=6526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/categories?post=6526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/tags?post=6526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/uploads3.wikiart.org\/images\/m-c-escher\/print-gallery.jpg!PinterestSmall.jpg\"){kind=link}
![https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg<\/a><\/p>\n\n\n\n14<\/a><\/sup> Review: The amazing world of M C Escher, 2015-2016, \u0161altinis: https:\/\/www.tessellationart.com\/review-the-amazing-world-of-m-c-escher\/#perspective<\/a><\/p>\n\n\n\n15<\/a><\/sup> H.S.M. Coxeter, 2022, \u0161altinis: https:\/\/www.britannica.com\/biography\/H-S-M-Coxeter<\/a><\/p>\n\n\n\n16<\/a><\/sup> Camera obscura, \u0161altinis: https:\/\/lt.wikipedia.org\/wiki\/Camera_obscura<\/a><\/p>\n\n\n\n17<\/a><\/sup> Illustration of the camera obscura principle from James Ayscough\u2019s A short account of the eye and nature of vision (1755 fourth edition), \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:1755_james_ayscough.jpg<\/a><\/p>\n\n\n\n18<\/a><\/sup> Agents of Change: Camera Obscura, \u0161altinis: https:\/\/cutt.ly\/qDs7Hde<\/a><\/p>\n\n\n\n19<\/a><\/sup> The Camera Obscura and Painting, 2019, \u0161altinis: https:\/\/www.liveabout.com\/camera-obscura-and-painting-2578256<\/a><\/p>\n\n\n\n20<\/a><\/sup> The Arnolfini Portrait, Jan van Eyck, oil on oak, 1434. National Gallery, London, \u0161altinis: https:\/\/commons.wikimedia.org\/wiki\/File:Van_Eyck_-_Arnolfini_Portrait.jpg<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Alisa Palavenien\u0117 Neretai net nesusim\u0105stome kaip yra susipyn\u0119s mokslas ir menas. Vieni i\u0161 ry\u0161kiausi\u0173 to pavyzd\u017ei\u0173 istorijoje yra Leonardo da Vin\u010dio darbai meno, architekt\u016bros, anatomijos srityse bei auksin\u0117s taisykl\u0117s (angl. golden […]<\/p>\n","protected":false},"author":2,"featured_media":7633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8],"tags":[45,138,150],"class_list":["post-6526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rasiniai","tag-daile","tag-mokslas-ir-menas","tag-optika","pb-post","pb-item","pb-col-xl-4 pb-col-m-6 pb-col-s-12","pb-animate pb-animated "],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-content\/uploads\/2022\/04\/Pav.2-3.jpg","_links":{"self":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/comments?post=6526"}],"version-history":[{"count":1,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions"}],"predecessor-version":[{"id":7634,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/posts\/6526\/revisions\/7634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media\/7633"}],"wp:attachment":[{"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/media?parent=6526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/categories?post=6526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mokslosriuba.lt\/kartumesgalime\/wp-json\/wp\/v2\/tags?post=6526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/en.wikipedia.org\/wiki\/File:Divina_proportione_-_Illustration_13,_crop_%26_monochrome.jpg\"){kind=link}
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