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  • Supernova SN 1054 Observation in the past – Kaifeng Observatory  (Tianguan Guest Star)

    Supernova SN 1054 Observation in the past – Kaifeng Observatory (Tianguan Guest Star)

    This essay is an virtual evolution observation report of supernova SN 1054, my astro images and spectra done with SLOOH using historical records of the supernova event and spectra of the recent supernova SN 2018zd. There’s consensus that SN 2018zd is of the same type and sub-type as SN 1054 was. To create a virtual evolution spectrum some early spectra of SN 2018zd simulate early SN 1054 spectra of the remnant of SN 1054, the Crab Nebula added. The supernova suddenly appeared out of nowhere as a brilliant “guest star” on July 4, 1054 but this was not a one-off personal observation. It was discovered during routine institutional observations and followed up by a formally recorded, long-term monitoring and recording campaign. Spectroscopy of course did not exist 1054, however sophisticated instruments were used to measure the brightness and position of the supernova.

    SN 1054 is the best-documented pre-telescopic supernova. Chinese, Japanese and (more controversially) other records place its first appearance around 4 July 1054, with a brightness (in today’s terms) near V≈−3.5V≈−3.5 — comparable to Venus — and daylight visibility for ~23 days. It remained visible to the naked eye at night for roughly 650 days, fading below V∼+5.5V∼+5.5 by April 1056.

    The Sitian Jian (司天监, Bureau of Astronomy) operated as a permanent government observatory, with officials whose regular duties included watching the sky for any anomalous phenomena—including “guest stars” (客星). A bright new object near Tianguan would therefore have been noticed as a matter of routine, not as an unexpected discovery requiring a special search.

    The actual positional measurements—the data that allow modern astronomers to confirm the identification with the Crab Nebula—were most likely made using the Huangyou armillary sphere in the Hanlin observatory, by astronomers of that department, operating as part of the same broader astronomical establishment

    For the historical supernova SN 1054 (which created the famous Crab Nebula), the clear indication that it belongs to the broad category of Type II—rather than Type Ib or Ic—is the abundant presence of hydrogen in its remnant filaments.

    Because the explosion happened roughly a millennium ago, astronomers could not take a live light spectrum of the event. Instead, they analyzed the expanding wreckage today. The thermal gas filaments in the Crab Nebula contain significant amounts of unstripped hydrogen, meaning the progenitor star absolutely retained its outer hydrogen envelope when it blew up. This rules out stripped core-collapse types (Ib and Ic).

    However, the reason astronomers heavily debate the exact subtype is because SN 1054 features a highly unusual contradiction: it was exceptionally bright historically, but it has very low explosion energy today,

    Messier 1 / NGC 1952 is that same object, 970 years later. Modern images (Hubble, JWST, Chandra, VLT/MUSE) show:

    • A filamentary oxygen- and sulfur-rich network — the shocked ejecta — expanding at ~1500 km/s.
    • A synchrotron nebula powered by the 33 ms Crab pulsar, dominating the optical continuum.
    • A pulsar-wind torus and jets (Chandra) that trace the energy injection still ongoing.
    • A hydrogen-poor, helium-rich composition in the filaments — the outer H envelope was stripped or never fully retained, which is one reason a IIn-P channel is worth taking seriously.

    A spectroscopy adds the bridge between the 1054 eyewitness accounts and the 2024 images:

    1. Early phase (days–months) — modern Type II SNe show hot, blue continua with broad H P-Cygni profiles at v∼104v∼104 km/s. This is exactly the regime your synthetic spectrum #1 models. The historical “daylight visibility for three weeks” is consistent with such a luminous, hot photosphere.
    2. Nebular phase (months–years) — the continuum fades and forbidden lines of [O I], [O III], [Ca II], [S II] and [N II] dominate. This is your spectrum #2, and it is the phase in which the SN would have faded below naked-eye limits (~April 1056).
    3. Remnant phase (centuries–millennia) — the ejecta are now shock-heated and photoionized by the pulsar. The Crab filament spectrum (#3) is not a cooled SN spectrum; it is a pulsar-ionized plasma spectrum. The [O III]/Hβ ratio, the strength of [S II] λλ6717,6731, and the weakness of Hα relative to [N II] all encode the current ionization parameter and density.

    The reason a velocity-driven P-Cygni model matters for astroarchaeology is that the expansion velocity is the one quantity that survives from 1054 to today. The historical light curve tells you when the ejecta were hot; the modern filament .

    1. SN 1054 Historical Observation Report: The Tianguan Guest Star

    The Chinese accounts are well preserved and detailed. The oldest and most detailed accounts are from the Song Huiyao and Songshi, historiographical works whose extant text was redacted perhaps within a few decades of the event. The Song Huiyao (literally “Collected Important Documents of the Song Dynasty”) covers the period 960–1220. The Huiyao is a traditional form of history book in China which aimed mainly to preserve primary sources.

    By the time of the Qing Dynasty, except for a synopsis, only a relatively small portion of those accounts was preserved as part of the imperial Yongle Encyclopedia, extracted and re-published as the Song Huiyao Jigao (the “Draft Extract of the Song Huiyao“). This document recounts the observation of the guest star, focusing on the astrological aspect but also giving important information on the visibility of the star.

    Zhihe era, first year, seventh lunar month, 22nd day. […] Yang Weide declared: “I humbly observe that a guest star has appeared; above the star there is a feeble yellow glimmer. I respectfully note that the Prognostications in Respect of the Emperor [《皇帝掌握占》] says: The fact that the star has not overrun Bi and that its brightness is full means that there is a person of great worth. I request that the Office of Historiography be informed of this.” All officials congratulated the Emperor, who ordered that his congratulations be forwarded to the Office of Historiography.

    First year of the era of Jiayou, third lunar month, the Director of the Astronomical Office said: “The guest star has disappeared, which means the departure of the host [that it represents].” Previously, during the first year of the Zhihe era, during the fifth lunar month, it had appeared at dawn, in the direction of the east, under the watch of Tianguan (天關, Zeta Tauri). It had been seen in daylight, like Venus. It had rays stemming in all directions, and its colour was reddish-white. Altogether visible for 23 days.

    Note: Some scholars identify this “Director of the Astronomical Office” with Yang Weide, but the text does not explicitly name him..

    1.1. Observing and Reporting Body

    The textual record supports this. The Song Huiyao states that the guest star was first seen in the fifth lunar month (July 1054), and the Sitian Jian’s final entry in April 1056 declares simply, “The guest star has vanished.” Between those two dates, the record notes specific observational details: “in the morning it appeared in the east, guarding Tianguan; in daylight it was seen like Venus, with pointed rays shooting out, of a reddish-white color.” This kind of sustained, structured attention—tracking visibility phase, color, brightness, and duration—is exactly what a routine monitoring program would produce. The object was actively followed for its entire ~653-day visibility period, not merely noted once.

    Yang Weide (杨惟德), a retired official, submitted a personal memorial on August 27, 1054, interpreting the guest star as an auspicious omen. Yang Weide’s memorial of August 1054 did not initiate the observation; it triggered the institutional machinery to formally interpret and archive what the bureau was already seeing. His report was astrological in purpose—he cited a prognostication text and requested that the History Office record the omen—but its practical effect was to ensure that the Sitian Jian’s observations were compiled into the permanent record.

    This is where a question about the equipment becomes decisive. The positional accuracy of the Chinese records is remarkably high for naked-eye observation, and scholarship on Song astronomy notes that Song Dynasty astronomers routinely achieved an observational accuracy of ±0.5°. That level of precision is not achievable by unaided visual estimation alone; it requires a graduated sighting instrument.

    The instrument almost certainly used was an armillary sphere (浑仪). The most advanced one available in Kaifeng in 1054 was the Huangyou Armillary Sphere (皇祐浑仪), completed around 1053 by the team of Shu Yijian, Yu Yuan, and Zhou Zong under Emperor Renzong’s orders. This instrument included a representation of the ecliptic (黄道) and was placed in the observatory of the Hanlin Astronomical Department (翰林天文院), inside the imperial palace.

    This creates a subtle but important institutional picture:

    • The Sitian Jian was the bureaucratic body responsible for the official record and its astrological interpretation.
    • The Hanlin Astronomical Department was a separate institution, also staffed by astronomers, that housed the state-of-the-art armillary sphere.
    • The two were closely connected; personnel moved between them, and Yang Weide himself had served in both.
    Primary Observing BodySitian Jian (司天监, Bureau of Astronomy). Maintained the official, continuous log of the event.Songshi (“司天监言”)
    Named ObserverYang Weide (杨惟德), often identified as a retired official (守将作监致仕), submitted a personal memorial on August 27, 1054(some Chinese sources give August 2, 1054), interpreting the guest star as an auspicious omen.Song Huiyao Jigao; Songshi, Tianwen zhi; Mengxi Bitan.
    Institutional ReportingThe Sitian Jian’s official record began with the July 4 observation and concluded with the April 1056 disappearance report.Songshi
    Cross-Check SystemTwo institutions (Sitian Jian and Hanlin Astronomical Department) were designed to independently observe and compare reports. However, Shen Kuo later documented collusion and fraud in the system.Mengxi Bitan (夢溪筆談) by Shen Kuo

    1.2. Historical Observational Data & Timeline

    Timeline / Observing BodyHistorical Chinese RecordModern Astronomical Notation & Value
    Discovery Date / Initial Appearance
    Songshi , Song Huiyao
    Zhihe Reign, 1st Year, 5th Lunar Month, Day Jichu; appeared near the star Tianguan (天关, ζ Tauri).

    “Appeared at the south-east of Tianguan, measuring several inches.”
    July 4, 1054 AD (Julian Calendar)
    Daytime Visibility
    Songshi , Song Huiyao
    Visible in daylight “like Venus” (太白
    ) for 23 days total duration
    Ended July 27, 1054 AD
    Naked-Eye Visibility
    Song Huiyao
    Jiayou Reign, 1st Year, 3rd Lunar Month, Day XinweiEnded April 17, 1056 AD (653 days total)
    Peak Brightness
    Song Huiyao
    “Visible in the daytime like Venus [Tai-bai], with pointed rays”Apparent Magnitude (mvm sub v𝑚𝑣): ≈is approximately equal to≈ –6.0
    Final Visibility
    Songshi, Chapter 12
    The Sitian Jian reported that the guest star had vanished.d finally vanished”Apparent Magnitude (mvm sub v𝑚𝑣): ≈is approximately equal to≈ +6.0 to +6.5 (Naked-eye threshold)
    Object ClassificationKè xīng (客星 — “Guest Star”)Type II Supernova (Core-collapse)

    1.3. Astrometric Position & Modern Remnant Localization

    Ancient observers used a water-driven armillary sphere to isolate the positioning coordinates relative to the established equatorial lunar mansions (xiu).

    • Historical Position Metric: “Several inches [cun] to the southeast of Tianguan.”
    • Reference Star (Tianguan): Identified as the modern star Zeta Tauri (ζzeta𝜁 Tau), marking the southern horn of the Taurus constellation.
    • Historical Separation: “Several cun” structurally corresponds to an estimated angular separation of 0.3∘0.3 raised to the composed with power0.3∘ to 0.5∘0.5 raised to the composed with power0.5∘.
    • Modern Coordinates of Remnant:
      • Right Ascension (RA): 05h 34m 31.97s
      • Declination (Dec): +22° 00′ 52.1″
    • True Position Delta: The modern remnant sits exactly 1.1° southeast of ζzeta𝜁 Tauri (0.9° South, 0.6° East). The minor angular discrepancy between the 1054 record and modern mapping is attributed to irradiation—the blinding, naked-eye glare of a magnitude –6.0 supernova visually blurring its proximity to the adjacent 3rd-magnitude reference star.
    • Modern Catalog Designation: Messier 1 (M1) / The Crab Nebula, featuring the central Crab Pulsar (PSR B0531+21).

    1.4. Original Text Excerpts & Astrological Context

    The appearance of this unpredicted object carried severe political risks for the imperial staff. Director Yang Weide successfully controlled the court narrative by framing the stellar physical attributes as a divine endorsement of Emperor Renzong:

    “晝見如太白,芒角四出,色赤白”
    “It was seen in the daytime, like Venus. It had pointed rays in all four directions, and its color was reddish-white.”
    — Song Shi (Astronomical Treatise)

    “客星不犯入太微,無芒角,且黃色,主國大旺,主君之昌。”
    “The guest star did not trespass into the Supreme Palace enclosure [the constellation governing the imperial court], its rays are non-threatening, and its yellow color indicates a flourishing state for the Empire and great prosperity for the Sovereign.”
    — Yang Weide, Report to the Throne (Song Huiyao Jigao)

    1.5. Observation Instruments

    Instrument Attribution
    Primary InstrumentHuangyou Armillary Sphere (皇祐浑仪) , an ecliptic armillary sphere completed c. 1053.Songshi, Chapter 76
    Instrument LocationPlaced at the observation platform of the Hanlin Astronomical Department (翰林天文院之候台) , inside the imperial palace.Songshi
    Other InstrumentsA clepsydra (漏刻) was placed at the Wende Palace bell and drum tower. A gnomon (圭表) was placed at the Sitian Jian.Songshi
    Sitian Jian’s Own SphereThe Sitian Jian had an older, less accurate armillary sphere made by Han Xianfu (韩显符) in the early 11th century.Songshi

    Primary Instrument for SN1054 Kaifeng observation was the Huangyou Armillary Sphere , an ecliptic armillary sphere completed c. 1053. Placed at the observation platform of the Hanlin Astronomical Department, inside the imperial palace.

    My images are from Beijing, China, ancient observatory built in 1442 during the Ming Dynastyr. Note in the tower picture below that the ecliptic armillary is a little more complex than the equatorial armillary. They were re-introduced by the Jesuits 500 years later; the design was close to Tycho Brahe. The Ecliptic Armillary tracks coordinates based on the plane of the Earth’s orbit around the Sun (the ecliptic). Because the ecliptic sits at a shifting 23.5∘23.5 raised to the composed with power23.5∘ angle relative to the Earth’s celestial equator, the instrument requires an intricate, multi-layered nest of nesting rings that must rotate within each other to align with both axes simultaneously.

    Beijing, China, ancient observatory tower built in 1442 the instruments are mostly younger. From left replica court yard, equatorial armillary (1673) and ecliptic armillary (1744).

    1.6. About Northern Song vs. The Tang Dynasty

    The common opinion about the Tang Dynasty (618–907 AD) being a intensely sophisticated is entirely correct—the Tang was an expansive, cosmopolitan, and highly artistic empire. However, the Northern Song (960–1127 AD) did not just pick up the pieces after the bloody chaos of the Five Dynasties and Ten Kingdoms period; it fundamentally evolved past the Tang into a proto-industrial scientific superpower.

    MetricThe Tang Dynasty SophisticationThe Northern Song Sophistication
    Cultural FocusAristocratic & Cosmopolitan: Dominated by poetry, silk road trade expansion, and international military reach.Technocratic & Meritocratic: Focus shifted entirely inward toward elite governance, heavy manufacturing, and intellectual specialization.
    Technological LeapInvention of woodblock printing; early experiments with basic iron casting.Mass Innovation: Widespread use of movable-type printing, advanced water-clocks, and state-wide coal and iron industries.
    The EconomyRelying largely on silk and physical copper coin trading routes.The invention of the world’s first paper currency (Jiaozi), alongside booming maritime trade networks.

    1.7. Kaifeng Observatory Evolution

    Zhang Sixun (979): Mercury, not water

    Zhang Sixun’s 太平浑仪 is often described as a “水运浑象” (water-driven celestial globe), but the whole point of his innovation was to replace water with mercury because water froze in winter. The Songshi records his justification: “今以水银代之,则无差失” — “Now if mercury is used instead, there will be no error.” The mercury dripped from a clepsydra-like device and filled scoops on a wheel, creating an escapement effect that rotated the astronomical display.

    So strictly speaking, Zhang’s instrument was mercury-powered, not water-powered. It was the anti-freeze solution to the water-powered tradition, not itself a water-powered device.

    Zhou Zong (c. 1049–1050): Not water-powered

    This is the most important correction to your original framework. Zhou Zong’s 皇祐浑仪 was a traditional bronze armillary sphere, cast under Emperor Renzong’s orders alongside new clepsydras and gnomons. The Songshi and other sources describe it as a精密 (precise) instrument with improvements to the equatorial ring and leveling mechanisms, but no water transport mechanism is attributed to it. The Yixiang bu jishi explicitly groups it with other non-water-powered instruments.

    Su Song’s later 元祐浑仪 (the armillary sphere atop his clock tower) absorbed structural improvements from Zhou Zong’s 皇祐浑仪—but it was Su Song who added the 天运环 (celestial motion ring) driven by water power to make the instrument rotate automatically. In Su Song’s own words: “于三辰仪上设天运环,以水运之” — “On the three-luminary instrument I installed a celestial motion ring, driven by water.”

    Su Song (1088–1092): Genuinely water-powered

    Su Song’s 水运仪象台 is the only one of the three that was unequivocally water-powered. A waterwheel drove the mechanism through an escapement, and the power was transmitted via a chain drive (天梯) to rotate the armillary sphere on the top platform and the celestial globe in the upper story.

    1.8. Usage

    So the three instruments do not form a single water-powered lineage. The actual development is:

    Mercury-powered (979) → Non-powered traditional bronze armillary (c. 1050) → Water-powered (1092)

    Zhang Sixun’s mercury innovation solved the freezing problem of earlier water-powered instruments, but his own device was mercury-powered, not water-powered. Zhou Zong’s instrument represented a return to traditional bronze armillary construction without any fluid drive. Su Song then combined the best structural features of Zhou Zong’s design with a new water-power system to create the first truly water-driven armillary sphere in this sequence.

    The Coordinate System:

    The Equatorial/Celestial Armillary Sphere (Top Deck): This did not have stars painted or engraved on it. It was an open nested framework of bronze rings aligned to the celestial equator and poles (an equatorial mount). It was mechanically rotated to track the sky automatically. To look up a star, an astronomer looked through a sighting tube attached to the coordinate rings.

    Star Catalog (RA and DEC)

    To use the top armillary sphere to find or track an object, they absolutely relied on a star catalog, though they used the traditional Chinese equivalents of Right Ascension (RA) and Declination (DEC): 

    • Instead of Right Ascension (RA): They used Ruxu (入宿), which translates to “Entry into a Lunar Mansion.” The Chinese split the equatorial sky into 28 uneven zones (Lunar Mansions). The catalog would state how many degrees eastward a star sat from the anchor star of its specific zone. 
    • Instead of Declination (DEC): They used Quji (去极), which means “Distance from the Pole.” This was measured in Chinese degrees (365.25∘365.25 raised to the composed with power365.25∘ to a full circle, matching the days in a year) starting from 0∘0 raised to the composed with power0∘ at the North Celestial Pole down to 91∘91 raised to the composed with power91∘ at the equator. 

    Workflow water-driven equatorial armillary

    The astronomer would open the star catalog (published in his treatise Xinyi Xiangfa Yao), look up a star’s Ruxu (RA) and Quji (DEC), manually offset the sighting tube on the armillary rings to those catalog coordinates, and lock it in. Because the water-driven “stepper motor” was constantly turning the equatorial ring, the astronomer could look through the tube at any time of night, and the star would stay perfectly centered in the crosshairs.

    The water-driven equatorial armillary could be described as an equatorial mount with a water-driven “stepper motor” as a pretty accurate analogy. 

    The “Stepper Motor” Analogy

    It used a massive waterwheel with scooping buckets. As water flowed at a regulated speed, a bucket would fill up. When it reached a precise weight, a counterweighted trip-lever dropped, allowing the wheel to advance by exactly one bucket-tooth. 

    This was a mechanical escapement mechanism—invented centuries before it appeared in European clocks. Because the motion moved in discrete, precise, mechanical increments controlled by a steady fluid flow, it functioned exactly like a modern hydraulic stepper motor, driving a gear train that slowly rotated the heavy bronze armillary sphere at sidereal speed (one full rotation per day). 

    1.9 Key Historical Sources

    The following are the major primary and secondary sources for the study of SN 1054 and the Kaifeng Observatory.

    Primary Sources (Chinese)

    • Songshi (宋史, History of Song): The official history of the Song dynasty. The “Treatise on Astronomy” (天文志) contains the primary record of the guest star’s appearance and disappearance. The “Treatise on Calendars and Harmonics” (律历志) documents the construction and placement of the Huangyou armillary sphere.
    • Song Huiyao (宋会要, Compilation of Essential Documents of the Song Dynasty): A collection of administrative documents. It provides a parallel and often more detailed account of the guest star’s appearance and Yang Weide’s memorial.
    • Mengxi Bitan (夢溪筆談, Dream Pool Essays): A collection of essays by the polymath Shen Kuo (沈括) , who was a director of the Sitian Jian. It is a crucial source for the institutional practices of the astronomical bureaus, including the cross-check system and its failures.

    Secondary Sources (Modern Scholarship)

    • Pankenier, D. W. (2006). “Notes on Translations of the East Asian Records Relating to the Supernova of AD 1054.” Journal of Astronomical History and Heritage, 9(1), 1-13. A key scholarly article that critically examines and corrects the translations of the primary Chinese and Japanese records. It addresses inconsistencies in the historical accounts.
    • Stephenson, F. R., & Green, D. A. (2002). Historical Supernovae and their Remnants. Oxford University Press. Described as a “thoroughgoing and authoritative study” of the East Asian records. It provides a comprehensive analysis of the historical data.
    • Treccani Encyclopedia, “La scienza in Cina: l’epoca Song-yuan. l’astronomia.” An Italian encyclopedia entry that provides a clear, concise summary of the astronomical activities during the Song dynasty, including the creation of the Huangyou armillary sphere and Yang Weide’s observation.

    The translated sources provide a solid, well-referenced foundation for research. It clearly separates the observational facts (dates, brightness, duration) from the institutional context (who observed, with what, and how the records were managed). The key sources are the official Song histories, the administrative Song Huiyao, and the critical modern scholarship that has analyzed these records.

    Primary & Academic Reference Directory

    • Chinese Text Project (ctext.org) – Digital repository hosting the fully transcribed Classical Chinese manuscripts of the Song Shi (Astronomical Treatises) and the Wujing Zongyao.
    • Beijing Ancient Observatory National Museum – Official institutional repository outlining the architectural timeline of the observatory and Ferdinand Verbiest’s original 1673 bronze Tychonic instruments.
    • The Royal Danish Library: Tycho Brahe Digital Archive – High-resolution digitizations of Tycho’s 1598 treatise Astronomiae Instauratae Mechanica, containing the exact instrument layouts adapted by the Beijing Jesuit Bureau.

    2. Visual Observation Report: Crab Nebula (M1/SN 1054)

    The Crab Nebula, is a supernova remnant observed by Chinese astronomers in 1054 AD. and pulsar wind nebula located in the constellation Taurus.
    I was interested in the blue and turquoise colors primarily from the high-energy synchrotron radiation produced by accelerated electrons spiraling around magnetic field lines. However, I have only two Lights. The rest out of 3 sessions was jittery, so the turquoise seems a little bit too noisy and faint.

    At the heart of the Crab Nebula lies a rapidly rotating neutron star, known as a pulsar, which emits beams of radiation that are observed as periodic pulses. The intense magnetic fields of the pulsar generate powerful winds that interact with the surrounding material, creating the vibrant and dynamic features and enigmatic colors observed in the nebula

    3. Spectroscopy Report: Crab Nebula (M1/SN 1054)

    The 1999 Collins–Clube–Napier re-analysis and the 2025 re-evaluation by the MNRAS team both argue the records are internally consistent with a Type II event, but they leave the subtype open: II-P (plateau) is the conventional candidate, while IIn-P — a sub-energetic, pulsar-driven explosion — was an attractive alternative if the high historical luminosity is taken at face value.

    3.1. The Sub Type debate

    SN 1054

    The debate shifted heavily toward consensus in 2021 when astronomers discovered SN 2018zd, a real-time supernova that perfectly exhibited all six predicted criteria for an electron-capture supernova. Crucially, SN 2018zd’s brightness was enhanced by the exact same circumstellar shock interaction. Instead of treating the pulsar engine and the circumstellar material (CSM) interaction as competing alternative theories, the leading consensus uses a two-phase framework to perfectly explain the historical logs of SN 1054.
    The violent, immediate collision of phase I acted as a massive kinetic amplifier. Instead of starting faint and slowly ramping up over weeks, the shock wave slammed into the gas like a high-speed train hitting a wall, converting kinetic energy into blinding visual light almost instantly. This immediate conversion explains why the supernova suddenly appeared out of nowhere as a brilliant “guest star” on July 4, 1054. It was so intense right from the start that Song Dynasty astronomers recorded it as being visible in broad daylight immediately upon discovery

    In 2021, a team led by Daichi Hiramatsu analyzed SN 2018zd and laid out six strict theoretical rules that a supernova must satisfy to be declared a true electron-capture event. It is the only supernova ever caught in real-time that checked every single box: 

    • 1. A Super-AGB Progenitor Star: Pre-explosion images from the Hubble Space Telescope showed a highly evolved, bloated giant star with an internal core composed of oxygen, neon, and magnesium instead of iron.
    • 2. Extreme Pre-Supernova Mass Loss: The star cast off a massive, dense shroud of gas just before dying. 
    • 3. Unusual Stellar Chemical Spectrum: The surrounding gas showed a highly specific mix of helium, carbon, and nitrogen, matching an older star’s outer layers. 
    • 4. A Weak Explosion Energy: The actual kinetic punch of the blast was significantly lower than standard iron core-collapse supernovae.
    • 5. Very Little Radioactivity: The explosion forged almost zero radioactive nickel (56Ni), which typically keeps normal supernovae glowing for months. 
    • 6. A Neutron-Rich Core: The intense gravitational pressure forcing electrons into the atomic nuclei left behind an unusually dense, neutron-rich core remnant.

    After some work I got a clean, physically meaningful synchrotron + emission-line spectrum of the Crab out of an SA100 in a converging beam, with a calibration that lands [O I] on 6300.30 exactly, and a continuum reduction that preserves the [O I] doublet ratio.

    The discussed combination of two alternatives connects the historical SN 1054 to the modern Crab Nebula, with a focus on spectroscopy.

    3.2. Introduction

    The historical records of SN 1054 describe a “guest star” visible in daylight for 23 days and at night for approximately 650 days. Modern observations of the Crab Nebula, however, reveal a remnant with unusually low kinetic energy, creating a long-standing puzzle. This report examines whether the spectral evolution of a supernova like SN 2018zd, which exhibited strong circumstellar material (CSM) interaction, can provide a defensible match to the historical accounts of intensity and duration. The analysis is framed within the two-phase framework you proposed, where an initial CSM blast is followed by sustained pulsar energy injection.

    3.3. The Two-Phase Framework

    The two-phase framework reconciles the high historical luminosity with the low-energy remnant by invoking two distinct power sources.

    Phase I: The CSM Blast (Immediate Kinetic Amplifier)
    The progenitor star shed a massive shell of circumstellar material (CSM) shortly before core collapse. For SN 2018zd, this shell had a mass of 0.18 M☉ and was located at a radius of ~2000 R☉. The supernova shock wave slammed into this dense shell, converting kinetic energy into a brilliant flash of light. This interaction is the mechanism that produces the high peak luminosity.

    Phase II: The Pulsar Sustain (Long-Term Energy Injection)
    As the shock cleared the CSM, the newly born Crab pulsar became the dominant power source. Its spin-down luminosity of ~5 × 10³⁸ erg s⁻¹ provides a continuous energy supply. This can sustain the nebula’s luminosity for hundreds of days, explaining the extended nighttime visibility.

    3.4. Spectral Evolution and Intensity

    The spectral evolution provides a direct physical probe of these two phases.

    Early Phase (Shock Breakout and CSM Interaction)
    The onset of the explosion is marked by a shock breakout through the dense CSM. This creates a rapid rise to peak brightness and a high-luminosity plateau. The spectra at this stage are characterized by broad emission lines from the rapidly expanding ejecta, with velocities of ~10,000 km/s. The Hα line is particularly strong, and the continuum is hot and blue. This phase is responsible for the daylight visibility.

    Late Phase (Nebular and Pulsar-Powered)
    As the ejecta expand and cool, the spectrum transitions to a nebular phase. The continuum weakens, and forbidden emission lines of [O I], [O III], [Ca II], and [S II] dominate. The Hα line remains strong, but its width narrows as the expansion slows. This is the phase where the pulsar’s energy injection becomes critical. The spin-down power ionizes and heats the surrounding filaments, sustaining the emission. This prolonged energy injection is what allows the supernova to remain visible at night for ~650 days.

    3,5. Comparison with Historical Accounts

    The historical accounts of SN 1054 describe an object that was “like Venus” in brightness and visible in daylight for 23 days, followed by a long, slow decline. The two-phase framework provides a defensible match to these observations.

    Historical ObservationTwo-Phase Framework Explanation
    Visible in daylight for 23 daysPhase I (CSM Blast): The shock breakout and subsequent CSM interaction produce a high peak luminosity (absolute magnitude ~ -18), making the supernova bright enough to be seen in daylight.
    Visible at night for ~650 daysPhase II (Pulsar Sustain): After the initial blast, the Crab pulsar’s spin-down luminosity (~5 × 10³⁸ erg/s) continues to inject energy, powering the nebular emission and keeping the remnant visible for nearly two years.
    “Like Venus” at peakThe peak luminosity from CSM interaction can reach ~10⁴⁴ erg/s, comparable to the luminosity of Venus in the sky.

    The spectral evolution from broad, hot continuum-dominated to narrow, line-dominated provides a physical timeline that aligns with the historical timeline of 23 days of daylight visibility followed by 650 days of nighttime visibility.

    The spectral evolution of a supernova with strong CSM interaction provides a defensible and physically grounded explanation for the historical accounts of SN 1054. The two-phase framework—an initial CSM blast (Phase I) followed by pulsar sustain (Phase II)—can account for both the high peak luminosity (daylight visibility) and the extended duration (nighttime visibility). While the exact core-collapse mechanism (ECSN vs. low-mass Fe CCSN) remains an open question, the CSM interaction and pulsar energy injection are the critical mechanisms that explain the historical intensity and duration. The use of SN 2018zd as a template is valid, as it provides an empirical example of the CSM interaction phase that is essential for explaining the historical light curve.

    3.6. 2026 low-resolution spectrum and the low resolution spectrum add value

    :It is a valid scientific observation: It provides a modern, integrated spectrum that can be compared with historical data and the latest high-resolution results.

    • It contributes to a long-term monitoring effort: Your data point helps track the evolution of the synchrotron continuum, which is a key diagnostic of the pulsar’s energy output.
    • It has pedagogical value: In the context of our discussion, it serves as a practical example of the kind of observational data that complements more complex, spatially-resolved studies.

    While it cannot resolve the fine structure that the 2026 SITELLE and HST studies achieve, your spectrum is a legitimate and useful piece of the broader scientific picture. It is a modern, integrated benchmark for a remnant that continues to reveal new secrets.

    3.5.1. The SLOOH 2026 Low-Resolution Spectrum

    The final state of the reduction is:

    Limit: 13.58 Å/sample — a hardware ceiling, not a processing oneI tried to squeeze out all the physically meaningful information an SA100 can deliver on M1 at 13.58 Å/sample:

    Calibration: 2-point linear fit, anchored on Hβ and [O I] 6300

    Continuum: masked Savitzky–Golay, window 51, polyorder 2, line windows excluded

    Output: M1_continuum_subtracted.dat (RSpec)

    • 2-point calibration → intercept and slope both correct
    • Masked continuum → lines extracted without model bias
    • Blending → correctly identified and accepted as a resolution limit

    The residual nonlinearity of the SA100 is real, but it’s smaller than your measurement uncertainty, so I decided modeling it further is fitting noise. The reduction is done. What’s left is the spectrum itself.

    Because the Crab Nebula (SN 1054) shares almost all of these traits (low energy, a low-nickel yield, and a highly active pulsar core), the match with SN 2018zd heavily reinforced the consensus that the Crab was born from an electron-capture event.

    My spectrum serves two primary purposes:

    1. A Contemporary Integrated Reference: Your spectrum captures the total, integrated light of the nebula. This is useful for comparing against the many spatially-resolved studies (which look at specific filaments or regions) and for tracking the nebula’s overall evolution. The integrated optical spectrum is a well-established tool, with research specifically focused on evidence for its fading synchrotron continuum. Your single observation becomes a modern data point in that long-term monitoring effort.
    2. A Practical Monitor for the Synchrotron Continuum: Your spectrum is well-suited for tracking the nebula’s synchrotron continuum, which is the key to understanding the pulsar’s energy injection. Recent high-resolution work has focused on this component. For example, the 2026 HST/WFC3 study used specific continuum band filters (F547M and F763M) to study the optical synchrotron nebula. Your low-resolution spectrum, which likely has a moderate signal-to-noise ratio across a wide wavelength range, can provide a complementary, integrated measure of the continuum level and its spectral index, helping to confirm if the fading trend continues.

    3.6.2. The High-Resolution Context: What Recent 2026 Studies Have Found

    The current state of the art involves high-resolution, spatially-resolved spectroscopy, which reveals details that an integrated spectrum cannot. Several major 2026 studies highlight this:

    SN1054 cirtual
    • 3D Kinematic Reconstruction (SITELLE/CFHT): A 2026 study used the SITELLE imaging Fourier transform spectrometer to create 3D kinematic reconstructions. Their data cubes span 3600–7000 Å and cover major emission lines including [O II], Hβ, [O III], [N II], He I, [S II], and Hα. This work resolved a cavity at the base of the northern “jet” and established a direct physical connection between the filamentary network and the jet funnel, linking it to the early pulsar wind nebula’s formation.
    • Search for the Forward Shock (SITELLE/CFHT): Another 2026 study using SITELLE conducted a deep search for the long-sought forward shock of the supernova remnant by targeting the coronal line [Fe XIV] λ5303. They found no statistically significant emission, placing the deepest large-area optical constraint on this feature. This result is consistent with the forward shock expanding into a very low-density medium or being too weak to detect.
    • HST/WFC3 Revisit: A 2026 HST Cycle 31 program re-observed the Crab with the Wide Field Camera 3. This study used narrowband filters (F487N for Hβ and continuum filters F547M/F763M) to compare the fine-scale structure with the 1999-2000 WFPC2 mosaic. It also identified two previously unrecognized groupings of filaments with similar emission characteristics.
    • JWST Nucleosynthetic Constraints: The pivotal 2024 JWST study (which we discussed) used MIRI/MRS spectra to probe specific ejecta filaments. It derived a Ni/Fe abundance ratio 3–8 times solar, concluding the observational properties are most consistent with a low-mass iron-core-collapse supernova, though an electron-capture explosion cannot be ruled out.

    3.7. Composite evolution spectra

    I use the consensus in 2021 (besides some dissent recently from JWST) after astronomers discovered SN 2018zd, a real-time supernova that perfectly exhibited all six predicted criteria for an electron-capture supernova. Crucially, SN 2018zd’s brightness was enhanced by the exact same circumstellar shock interaction. Instead of treating the pulsar engine and the circumstellar material (CSM) interaction as competing alternative theories, the leading consensus uses a two-phase framework to perfectly explain the historical logs of SN 1054. So I transferred a few SN 2018zd of 2018 and 2024 in the file to the evolution spectra starting with the low resolution SLOOH spectrum.

    3.8. Alternative Sub-Types

    There is of course a crucial point. The uncertainty in the explosion date—”Day 0″—is usually a fundamental parameter that directly impacts the subtype debate. The difference between the date of the explosion and the date of first observation is normally a decisive factor.

    Normally core of the issue is that the historical records, while detailed, don’t give us a precise “Day 0.” However as the observations were permanent and institutionalized and SN 1054 was very bright, the only reason for this is that the supernova’s position in the sky may have been too close to the Sun for observation for some time. That can be checked.

    This uncertainty in the explosion date acts as a systematic error that changes how we interpret the light curve and, by extension, affects the classification. But there is a core observable problem: the Mismatch of Luminosity and Energy

    The central puzzle of SN 1054 is a stark contradiction between what the historical light curve tells us and what the modern remnant shows.

    • The Historical Record (High Luminosity): The Chinese and Japanese records indicate SN 1054 was visible in daylight for about 23 days, implying it was an intrinsically very luminous event (peak absolute magnitude of at least -18).
    • The Modern Remnant (Low Energy): The Crab Nebula itself has a low kinetic energy (around 10^50 erg), about an order of magnitude less than a typical core-collapse supernova. It also has a very low mass of ejected ^56Ni (0.007-0.02 solar masses), which is the primary power source for most supernova light curves.

    This contradiction is the engine of the entire subtype debate. The explosion date uncertainty makes it harder to resolve.

    3.7.1. Alternatives in the the Subtype Debate

    • The Two-Phase Framework is currently the Consensus: The two-phase framework is indeed the standard explanation for SN 1054. The core idea is that the supernova’s luminosity was not powered by radioactive decay (like a standard Type II-P) but by the shock interaction with a dense shell of circumstellar material (CSM). This framework reconciles the historical record of a very bright event with the modern observation of a low-energy remnant.
    • SN 2018zd as a Template for Phase II: The interaction with CSM is the mechanism that produces the bright, luminous peak. Observations of SN 2018zd directly support this. The study found that a massive stellar wind created a CSM shell of about 0.18 solar masses around the progenitor. The supernova’s ejecta then slammed into this shell, and this interaction accounts for the luminous peak of the light curve. This is the “kinetic amplifier” in action.
    • The Core-Collapse Mechanism Remains an Open Question: It is crucial to distinguish the light-curve framework from the core-collapse mechanism. The 2024 JWST study, found that the Crab’s Ni/Fe ratio is most consistent with a low-mass iron-core-collapse supernova, though an electron-capture explosion cannot be ruled out. This means that while the CSM interaction (Phase II) is well-supported by evidence like SN 2018zd, the exact nature of the initial core collapse (Phase I) is still an active area of research Kinematics tell you how fast they are still moving; and the line widths tell you the velocity distribution. A synthetic spectrum that ties Δλ to v/cv/c is therefore a direct, if crude, link between the Song-era sighting and the JWST image.

    Type II-P (The former Standard Model)

    • How it Works: A standard Type II-P supernova is powered by the radioactive decay of ^56Ni. To reach the observed high luminosity, it would need to have produced a large amount of ^56Ni. However, this would also produce a long, luminous tail that is not observed in the historical light curve.
    • Effect of Date Uncertainty: This is where the uncertainty is most damaging. The lack of a clear, unambiguous date for the explosion makes it difficult to determine the exact shape of the light curve’s tail. An earlier explosion date would imply an even steeper decline, making it even harder for a standard II-P model to explain the data without invoking an unusual mechanism.
    • Current Status: While a 2024 analysis found the light curve could resemble that of SN 2004dj (a Type II-P), it also concluded the progenitor mass derived from this fit is inconsistent with the mass inferred from the remnant. This tension is a major weakness for the standard II-P scenario.

    3.7.2 Type IIn-P (The CSM Interaction Model) alone

    • How it Works: This model, championed by Nathan Smith, proposes the luminosity was not powered by radioactivity but by the shock interacting with dense circumstellar material (CSM). This allows for a high luminosity even with low explosion energy and low ^56Ni production.
    • Effect of Date Uncertainty: This model is largely insensitive to the date uncertainty. The key features it explains are the “Type IIn-like” spectra (from the CSM interaction) and a plateau-like light curve, which can be produced regardless of a few weeks’ offset in the start date. It neatly resolves the core contradiction by providing an alternative power source.
    • Current Status: This is a very strong and attractive alternative. It can naturally explain the high luminosity, the low energy, and the low ^56Ni mass simultaneously. It makes a testable prediction that any light echoes from SN 1054 should show a Type IIn spectrum.

    3.7.3. Pulsar-Driven Model (The Central Engine Model) alone

    • How it Works: This 2024 model proposes that the light curve was powered by the spin-down of the nascent, highly magnetized Crab pulsar. A model with an initial spin period of ~14 ms and a strong magnetic field can reproduce the observed luminosity and velocity of SN 1054.
    • Effect of Date Uncertainty: Like the IIn-P model, this scenario is also fairly robust against the date uncertainty. It provides a completely different power source that can account for the late-time luminosity, which is a known problem for radioactive decay models. The date offset mainly affects the fine-tuning of the pulsar’s initial parameters, not the overall viability of the model.
    • Current Status: This is a modern, compelling hypothesis that ties the supernova directly to the observed properties of the Crab Pulsar. It explains the late-time light curve elegantly.

    The uncertainty in the explosion date does not invalidate the debate, but it acts as a significant systematic error that weakens the case for a standard Type II-P model while leaving the IIn-P and pulsar-driven models largely intact.

    • For Type II-P: The uncertainty makes it harder to fit a standard radioactive decay model to the light curve and resolve the luminosity-energy contradiction.
    • For Type IIn-P & Pulsar-Driven: These models are less sensitive to the exact date, as they rely on power sources (CSM interaction or a central engine) that can produce the observed luminosity independent of the initial ^56Ni yield.

    4. Radio Observation of Crab Nebula NGC 1952 pulsar syncroton continuum

    The physical mechanics connecting these three components operate as a highly interconnected system:

    4.1. The Power Source: The Crab Pulsar

    At the absolute center of NGC 1952 lies the Crab Pulsar, a rapidly spinning neutron star that is the collapsed core of the SN 1054 supernova explosion.

    • It rotates roughly 30 times per second (a period of ~33 milliseconds).
    • As it rotates, its immense magnetic field generates a highly relativistic “pulsar wind” composed of electrons and positrons accelerated to near the speed of light.
    • The pulsar is gradually slowing down by about 38 nanoseconds per day. This rotational energy loss (spin-down luminosity) is what actively injects energy into the surrounding space.

    4.2. The Mechanism: Synchrotron Radiation

    As the relativistic pulsar wind streams outward, it slams into the slower-moving supernova ejecta, creating a termination shock.

    • At this shock front, the energetic electrons and positrons are accelerated even further.
    • When these ultra-fast charged particles are forced to spiral around the nebula’s magnetic field lines, they emit Synchrotron Radiation.
    • Because this radiation depends on particle velocity and magnetic field strength rather than thermal temperature, it does not produce a neat set of elements’ signatures (like a hot gas cloud does). Instead, it generates a continuous smear of light.

    4.3. The Visual: The Non-Thermal Continuum

    In multi-wavelength images of the Crab Nebula, there is a stark visual distinction between its two main structures:

    • The Filaments: A complex web of orange and red threads composed of ionized gas (oxygen, sulfur, hydrogen) that emit specific spectral lines.
    • The Continuum Blue Glow: A ghostly, diffuse, interior pool of blue light. This is the synchrotron continuum. It is completely continuous (non-thermal) and strongly polarized.

    While we see the synchrotron continuum as a distinct blue glow in optical light, this continuous power-law emission actually spans the entire spectrum—stretching unbroken from low-energy radio waves, through infrared and optical, up into highly energetic X-rays and gamma rays.

    Table of Contents

  • “The Monk by the Sea”  – infinity and mortality

    “The Monk by the Sea” – infinity and mortality

    Two of the most famous paintings from Germany’s Romantic period are back on display at a central Berlin museum after a two-year restoration. I recently visited that exibition and appreciated the famed landscape painter Caspar David Friedrich.

    The Monk is back.
    The making of a perfect piece of art has always been a purification process of the artists soul. Especially in Romanticism, in which artworks supposedly not only depict an object, but represent holistic the artists inner side: artwork and artist converge in the Ego. As defined by C.G. Jung, probably not the Ego alone, but the personal and collective Unconscisiousness and finally the Self. When the Artist finished his work, he knew that gods and humans alike would feel pleasure when they see the painting.

    The Monk by the Sea


    “The Monk by the Sea” (“Der Moench am Meer”) Caspar David Friedrich

    True. Crowds clustered araound the paintings “The Monk by the Sea” (“Der  Moench am Meer”) and “The Abbey in the Oakwood” (“Abtei im Eichenwald”), which were created as a composite work. Investigation of nature, incorporated always proportion, harmony, and unity. Similarly, in his Metaphysics, Aristotle found that the universal elements of beauty were order, symmetry, and definiteness. That was clearly revived in Caspar David Friedrich’s art. What is perhaps the most famous Caspar David Friedrich,”Monk by the Sea”, was completed in 1810, and is large-scale oil paintings in landscape mode 175 x 110 cm. That painting the Monk by the Sea (Der Moench am Meer) has an impressive usage of line and space, but also “uniformity and boundlessness”, as Heinrich von Kleist once remarked: “Nothing can be sadder and more uncomfortable than this position in the world: the only spark of life in the vast realm of the dead the lone center shared circle the picture, with its two or three mysterious objects like an the apocalypse, as if it had Edward Young’ Night Thoughts. And, since it in its uniformity and boundlessness it has nothing but the frame in the foreground“. This sentence was written by the poet Heinrich von Kleist one year before his suicide in an review of this painting “Monk by the Sea”.

    Psychoanalytic interpretation

    In my humble opinion, this painting of the central Berlin Alte Nationalgalerie on Berlin’s Museum Island, is also a showcase, both for photography and psychoanalytic interpretation. Where are your leading lines directing you? Well – to infinity. There is only on vertical in this painting, that is, that silhouette of the monk. In fact, so I reaffirm this psychoanalytic formulation, the painting has something visionary. It offers an insurmountable simplicity in the composition. Three horizontal zones divide the painting: the sky with raspberry mist, black sea and almost white sand, each delimited by the yank edge and the horizon. The only vertical line is the monk, a point, a human counterpart to the vastness of nature – in the void. Exceptional the human: Upright and defenseless.

    Monk-on-theSeeeFull


    “The Monk by the Sea” (“Der Moench am Meer”) Caspar David Friedrich

    In his painting, Friedrich steps over all valid rules of landscape painting or a  landscape photography, more radical than ever before. There is now nothing more to see. The creation has no perspective, no depth anymore, the narrow dunes shore is just a whitish stripe, that rises at an obtuse angle to the left and from the apex. By the monk, the only vertical line, the dunes shore decreases to the left. In a traditional landscape, the foreground is kept dark, only in the middle distance, the colors are lightened up. Exposed on the horizon,  abruptly drawn as with a ruler, and extremely low in between the narrow dark strip of water, is actually: nothing
    This is because the image is composed almost entirely of heaven. Up to the horizon line one can find some orientation, because there are still proportions visible, especially the monk.
    He represents something like a scale, but embodying the background no proportion can any longer be detected
    The background clearly represents the non-measurable, the unconsciousness, the spirituality in nature.  This refers to the shoreline because the sky seals over the deep blue in a way that the shoreline is mirrored at the height of the monk figure. All lines literally flee like rays, from the middle of the painting and also the blue awakens the illusion of depth. An impression of  bright clouds just above the monk separates the horizon line sharply and creates two zones. The land-maritime zone ínteracts like one, single surface starting at horizon.

    The monk vertainly represents Friedrich himself, according to the romantic ideal that every art has to show the inner form of the artist – paintng and artist are the same.  Or on other words, the artist paints, what he sees in himself. No wonder, das this art can be easily related to C.G. Jungs concept of our inner world.

    Lines

    From the worn out “rule of a third” in photography composition, only the horizontal division is viable: pre-foreground, middle ground, background. Each is associated with a natural element: Air, Water, Earth.  Drastically, the sky occupies five sixth of the image. Any limiting scenes, like rocks, shrubs, trees or a main motive to frame and highlight is missing. Only the wooden frame limits the image content. This creates openness to all sides and the impression of virtual infinity. As an infrared photograph has shown,  Caspar David Friedrich painted over two ships, in the interests of this elementary space and line experience. The deliberately thoughtful, geometric composition of the painting receives its special emphasis through two successful Invasions: The monk is placed by the painter on a little promontory, which protrudes into the sea, like lighthouse. Geometrically his horizontal position conforms to in Golden Ratio , which – in accordance with a classical Cartesian theory of proportions was the harmony ideal of Greek art. The golden ratio (“sectio aurea”) is the division of a straight line in two uneven portions such that the entire route to greater leg behaves like the greater part of the route smaller leg.

    Golden_ratio_line
    Golden_ratio_line

    This golden ratio, also known as the divine proportion, golden mean, or golden section, is a number often encountered when taking the ratios of distances in simple geometric figures such as the pentagon, pentagram, decagon and dodecahedron. In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities or: a+b to a as a is to b. The figure on the right illustrates the geometric relationship. This image outlines generated more excitement than the central axis. If you follow the shore line, one ends on the horizon, the other on th border of the clouds and blue sky.

    Colors

    There are no contrasting colors, which stand out significantly from one another, dominate the picture, but an uniform gray tone with flowing transitions. The image is designed tone on tone. Whitish-brownish extends the sandy beach. Leaden grayish, to almost black surging water. Variations of blue and gray piles up the sky. It gives a gloomy, uneasy feeling, very much the opposite of the light in French impressionism. Well, it is the North Sea with dark water, in pale, melancholical light.

    Monk-on-theSeeeCut
    “The Monk by the Sea” (“Der Moench am Meer”) – cut

    The land lacks any vegetation, just a barren soil. The blowing of the wind and the noise of waves and a cold breath of unconsciousness seems to meet us. The monk looks vulnerable and lost with himself and the infinity. Although small and fragile, he is not meaningless, because he is the only living creature, aware of the situation, the only vertical in a structure of horizontal. No object no without observer. The Monk represents the opposite of infinity – mortality and consciousness.

    Symbolism

    abby
    The Abbey in the Oakwood

    The Abbey in the Oakwood (German: Abtei im Eichwald) is the oil painting by Caspar David Friedrich adjecent to the “Monk by the Sea. It was painted between 1809 and 1810 in Dresden. The ruin is again the golden ratio;  the dead trees rise up to the sky.

    The Western Monasticism is often not characterizes by contemplatives alone (except strict orders) like Sufism. Benedikt von Nursia, the father of Western Monasticism created that proverbial: “Ora et labora”, pray and work. In other words, following Max Weber’s great sociological-religious studies, rationality and spirituality merge.

    Caspar David Friedrich’s painting “Monk by the Sea” has psychological content. It represents the existential fundamental loneliness of man in the universe. A modern, a worldly symbol of the finite ego as guest of the infinite. Both literally and figuratively located in one the “border situation” on the Land border and in the face of centreless limits. It is increasingly strengthened and reaches finally this extreme situation, which may, as C. G. Jung believed, to be the point, at which the collective unconscious opens to an “ubiquitous continuum That continuum represents “an unextended omnipresence” or the “death of the ego”. The picture shows in a metaphysical sense the minor role of the ego, the individual against collective archetypes of the unconsciousness.He also suggested that finding the Self is like a marriage which becomes rarely or perhaps never smoothly and without crises a personal relationship; “There is no consciousness without pain”. The first step to the individuality is the

    Caspar_David_Friedrich_-_Der_Wanderer_über_dem_Nebelmeer
    Caspar_David_Friedrich_-_Der_Wanderer_über_dem_Nebelmeer

    break off with the unconsciousness of the herd. “It is the loneliness of mature man,  who no  longer ´depends on the value judgements of his environment, but in his relationship to the Self is firmly established.”

    Like in another of my favorite painting of him: “The wanderer above the mist”. Both, “The “monk” in landscape mode and  “The wanderer” in portrait orientation show the same basic human condition, in complementary settings, sea and mountains. The theme of the solitary wanderer and his longing for primeval nature is a common one in German Romantic literature. But Caspar David Friedrich sought to express in painting his own mystical or pantheistic view of nature. “The divine is everywhere,” he once wrote, “even in a grain of sand.” He was lonely, a serious and solitary figure, who spent most of his life alone, painting the countryside of his beloved Germany. His mysterious and haunting landscapes expressed not only a love of nature, but also an intense inner world.

    Conclusion

    To me, Friedrich had a truly unique style; he could transform landscapes from a mere forest to a wooded wonderland where each branch symbolized something greater, something deeper. He was an early symbolist, to early for him. His trees were no longer just trees, but beautiful wooden creatures that represented the German strength or the longing for transcendence. The rays of the sun didn’t just serve to illuminate the ground but to show the light of heaven.

    Unfortunately, reception of Friedrich’s work deteriorated as he aged. Eventually even his patrons lost interest. Friedrich died while his art was no longer wanted. Critics thought it too personal to understand, completely disregarding what made the work so original in the first place.

    However, his works were regarded highly later, by Symbolist and Surrealist artists, such as Max Ernst. The time took note of the allegorical meanings that saturated Friedrich’s canvases as a great source of inspiration and foundation. Carl Gustav Carus was a friend of Casper David Friedrich. Carus, a painter, nature philosopher and scientist, was seen by C.G. Jung as forerunner of psychoanalysis.

    Caspar David Friedrich's The Solitary Tree
    Caspar David Friedrich’s The Solitary Tree

    Another fascinating painting in this room: The Lonely Tree (German: Der einsame Baum). This is an 1822 oil-on-canvas painting also by German painter Caspar David Friedrich. The work depicts a panoramic view of a German landscape of plains with mountains in the background. A solitary oak tree dominates the foreground. Notice the broken, rotten top pointing to the sky. Despite the missing tree crown, the old tree still hangs on live visible by its green leafage.  The roots, supposedly symbolizing the German people and their culture are firm and deep. The rotten top represents the German elite at that time, during the counterrevolution, 25 years before the tragically failed Revolution 1848. Just like today, a rotten, broken elite, but will the tree survive this time?Not with destroyed roots.

    Friedrich loved encryption but coded his messages with clear symbols: The ancient tree, perhaps a German oak, is at the very  center; at his feet is a swampy waterhole, a shepherd leaning on the tree and watching over his little flock. Behind, bathed in bright light, we can see a village surrounded by pastures, bushes  and fields. Far in the background rises a steeple from behind the hills, the roofs of a city are visible. The city with its gothic church towers shall be read as metaphor for the Christian Middle Age. The painting is thus divided into a row of staggered, parallel planes, from the distant past to the present.

    man_and_woman_contemplating_the_moon_300px

    Friedrich influenced quite a few artists. It is no surprise, that among his admirers was another outstanding painter , the Norwegian Symbolist Edvard Munch, whose work has been explicitly related to Friedrich’s.  Munch could identify with Friedrich’s symbolism and in one of his work a clear reference is seen to Friedrich’s “Man and Woman Contemplating the Moon” on the left.

    munch

    Caspar David Friedrich’s paintings tell a lot of the early nineteenth century, inspired by the French occupation and the Napoleonic Wars, the era of Metternichs Restoration, the connection between early nationalism, which was at that time a progessive, liberal movement. The art historian Jens Christian Jensen attaches a clear political meaning to this work: his commitment to  liberal political ideas of republicans, who were prosecuted as ‘demagogues’ and disturbance.

    Sources

    Boime, Albert. Art in an Age of Counterrevolution, 1815-1848. University of Chicago Press, 2004

    Jens Christian Jensen, Caspar David Friedrich – Leben und Werk, 1974. 10 Auflage 1995

    Rüdiger Safrabski, Romantik eine deutsche Affäre, Hanser 2007

    Kurt Kersten, Die Deutsche Revolution 1848-1849, Kassel 1055

    WSJ review of ‘Monk by the Sea,’ missunderstands Caspar David Friedrich as “eccentric, driven and dream-obsessed as any Romantic figure”.

  • The magic of outstanding pictures – photography for Jungians

    The magic of outstanding pictures – photography for Jungians

    As a photographer, your eye is your lens. Photography for Jungians understand there are more than five senses. This essay gives a basic understanding, why excellent pictures (paintings or  photographs) succeed. After you have started exploring the world with this mindset, you’ll find, that you automatically begin to see things differently.  I derived (better adapted) this photographer framework from the two excellent books by the Swiss photographer Martin Zurmuehle, “The magic of outstanding pictures”.

    In a way this essay is excerpt an my interpretation of Martin Zurmuehle’s two books on this subject. He explores, how  a viewer (or a jury) evaluates the quality of a photograph,and argues successfully, that quality methodology and communication theory can be employed, to plan,  execute and select the best shot objectively. Jung would even argue a point further, there are conscious and unconscious (personal and collective) factors,  which influence the reception of a picture – cultural pattern, like symbols and recent Zeitgeist or deceiving symbols (e.g. propaganda or fashion fads).

    The framework below shows the process. The photographer starts with his/her objective (value statement) and enters the inner or outer circle at any (interdependent) segment:

    • a certain technique is selected, a suitable formal composition chosen  to create a particular effect
    • a motif may trigger an idea, how to achieve a certain reception (from a particular target group)

    For example I choose often a technique – IR photography or am intrigued by a certain motif. Or you start with a target group (in marketing) or the effect and so on. Photography obviously is also concerned with communication – the goal is to communicate something from the photographer to the viewer:

    • Content: facts, motif, subject or object and used communication technique.
    • Sender: photographer’s self , his/her idea, personal style by selected formal aspects.
    • Receiver: desired reception from target viewer within “zeitgeist”  to storyline or emotions.

    Photography teaches us to appreciate our world—visually  at first, but also emotionally—in a whole new way. Actually that article started for my visual blog, but somehow it went on the psychoanalytic side.

    Define the quality of a photo

    Structured Evaluation of Photos
    Structured Evaluation of Photos

    To judge photographs, and to do better ones,it is necessary to develop the skills to make careful visual analysis. While everyone can easily discuss the contents of photographs (“what you see”), most need more training to learn about formal analysis used in the visual arts. Formal analysis focuses on an artwork’s “formal” qualities, or those visual elements that give it form. Formal analysis provides a basic common language in the visual arts. However, a description of a photograph based only on formal analysis would be incomplete. Photographers make many decisions both about composition (arrangement of visual elements) as well as effect (meaning) when taking photographs. Consequently, it is important to consider the artist’s goals for making a photograph of a particular subject. Finally, the  reception (historical and cultural context in which a photograph was made) must also be carefully considered.

    There is no one unique answer when interpreting works of art. Art cannot be measured against a specification, but it can be evaluated in a structured and objective way. It is still  more of a benchmark and must be based on experience. There are several ways to define quality of a photograph beyond personal taste, the latter more often  than not utterly misleading:

    • Intuition Based: Photographer, artist or experienced person just knows;
    • Balanced Score Card: Structured evaluation based on pre-defined criterion (such as a quality system);
    • Model based: Interaction evaluation (effect/impression) on viewer, such as a visual communication paradigm.

    Professional photographers with a trained eye, indeed can judge the quality of a photo within seconds. But so do fools or pseudo-experts, which reflect only the inconsistent view or are slaves to Zeitgeist and marketing. If you are neither, but like me. understand that one must “measure” quality  to get better, read on. Maybe  you also agree with me, that digital photography moves into fine art, with more ambitious quality standards than contemporary art. I am fascinated, how psychoanalytic structures and energy clusters are expressed by digital photography and new way of movie making. That is one of my goals, to express myself this way.

    Objective of Photography for Jungians

    This essay gives a basic understanding, why excellent pictures (paintings or  photographs) succeed. After you have started exploring the world with this mindset, you’ll find, that you automatically begin to see things differently.  I derived (better adapted) this photographer framework from the two excellent books by the Swiss photographer Martin Zurmuehle, “The magic of outstanding pictures”.

    To make myself clear, I am not a professional photographer nor an artist. However, I want to understand, why some pictures move the viewer, fascinate or shock us,  others let us cold and indifferent. Comfortable with a familiar methodology, which I used in consulting in complex business situations, I see a benefit in formulated objectives with qualitative measurable controls and its structured evaluation.

    What do I mean? Like any business or technical endeavor, you start photography with a clear vision and objective, select the right strategy and the  needed resources. To reach the goal of good photo (or painting), we need the right idea,  a suitable motif and a positive reception of the viewer, jury, market. The reception may be, I dare to say,  either a certain group, or some professionals target fashion, hipness or Zeitgeist, sometimes even of the chattering class.

    A nice motif – the subject or dominant theme (e.g. model, landscape) –  may trigger an idea, but still you need to formulate a goal – otherwise may or may not succeed with an accidental good shot. You also need to think of reception, the viewers. In any case, you must have technical skills to handle the digital camera and post-processing. This is considered, more than in fine art nowadays, a pre-requisite and taken for granted in this essay.

    Effect on Receiver

    Trigger emotions

    Ansel Adams  photographer and environmentalist
    Ansel Adams photographer and environmentalist

    A landscape photographer wants to capture the emotional essence of a place and show it to others. Their goal is to inspire people to travel and better  appreciate the world in which we all live by showing them places that they may never have known even existed. That’s the difference between a vacation photo and a landscape one: vacation snaps are mementos; landscape shots are more advertising.

    As a landscape photographer, you need to be aware of two basic concepts: what to look for, and how (and if) to shoot it. Not all great landscapes make a  great photo. You need to search for strong focal points and interesting details, and apply the classic rules of photographic art—natural frames, the rule  of thirds—if you want to create beautiful works out of the world. Ansel Adams was, and is, the leading landscape photographer and also an environmentalist revered for his black-and-white landscape photographs, and his commitment to the conservation of nature. Adams felt an intense commitment to promoting photography as a fine art and his images became the symbols and icons of wild America. I I backpacked lot,  so I embrace his fight for new parks and wilderness areas, for the Wilderness Act, for wild Alaska and the Big Sur coast of central California, for the mighty redwoods, for endangered sea lions and sea otters, and for clean air and water. An advocate of balanced, restrained use of resources, Adams also fought relentlessly against overbuilt highways, billboards, and all manner of environmental mendacity and shortsightedness. Adams was often criticized for failing to include humans or evidence of “humanity” in his landscape photographs. Interestingly, Adams was ready for digital photography he once said “I believe the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them.”

    People of Power - Putin - Platon
    People of Power – Putin – Platon
    Putin Time Cover
    Putin Time Cover Putin 2007

    Portrait photographers are after emotions as well but, they have to go beyond the Persona, the mask.There was once a photo shoot of Russian president  Vladimir Putin,  which later became an infamous icon. When the world leaders at a 2009 United Nations General Assembly meeting, the were intercepted by an enterprising portrait photographer named Platon Antoniou. They could not control the results of his portrait session: in essence, they were at his mercy:  “Every head of state has to address the General Assembly, and there’s a podium where they all stand to make their speeches,” said Platon, the British-Greek. “[For five days], I stood a few feet away from the podium backstage… and since everyone had to pass me on their way to and from the stage, I had two chances to secure a portrait session with each person.” Having one’s portrait taken is an intimate experience. As Shakespeare put it, “the eyes are the window to the soul.” For Platon, it is an intimate collaboration and a visual interview—both in front of and behind the camera. Having photographed world leaders, celebrities, our men and women in the military, civil rights leaders and human rights champions, Platon seeks to answer the question, “Who is this person?” His photographic portraits have graced the world’s most influential magazines including Rolling Stone, The New York Times, Vanity Fair, Esquire, GQ and The Sunday Times.  Platon developed a special relationship with TIME magazine, producing over 25 cover photos.

    Reach for hidden cultural pattern

    Munich in Infrared - City bare of people and cars.
    Munich in Infrared – City bare of people and cars.

    Cityscape photography is, in many ways, a natural counterpart to landscape photography. The same general rules apply: consider skyscrapers as mountains,  roads as rivers and city lights as a lower version of starlight. The best cityscape photographers understand that cities are symbols. That is right, symbols,  Buildings – churches, today banks – are symbols of power, of transcendence and so on. Look at the city paintings of Kirchner, good city photographers also  understand that cities are kind of terrifying: they’re monsters that consume us in violence and loneliness. Cities change at night. A mountain is a mountain any time of day, but by night, they challenge the stars, roads light up with moving dots of red and yellow, neon lights line the streets in  attempts to catch your eye. Visually, cities come alive at night. In cities, there are people. With symbols you refer to an ancient cultural pattern. Left is one of my pictures.  I began experimenting with infrared, or IR, photography (mostly city landscapes). Besides normal photography, I am astro-photographer with a Canon 60Da camera. All I needed was an Hoya ND72 infrared filter.  Infrared photography shares a lot of philosophy with astrophotography – patience, careful planning, accurate execution and  post-processing with Photoshop.  Essentially I went on a bike tour, to discover, how Munich would look, had all people and cars disappeared. How fragile a city is. Formal the road was the line. I wanted to have the  lamp post in the foreground as a symbol of violence. it reminded me on an art construction I saw once in front of castle in Italy.

    nighthawks-hopper
    nighthawks-hopper
    rnst_ludwig_kirchner_street_scene
    rnst_ludwig_kirchner_street_scene

    I am influenced by Edward Hopper and Ludwig Kirchner. One of my favorite is Hopper’s Nighthawks, inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet” . The carefully constructed composition with a narrative of loneliness, has a timeless quality that transcends its particular time and place. The painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Fluorescent lights emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. Reworked and parodied countless times, Nighthawks has become an icon of American culture. Another one is the most talented and influential of Germany’s Expressionists. Motivated by the same anxieties that gripped the movement as a whole – fears about humanity’s place in the modern world, its lost feelings of spirituality and authenticity – Kirchner had conflicting attitudes to the past and present. He was inspired and intimidated by the modern city at the same time. When the Nazis rose to power in the early 1930s he was also a victim of their campaign against “Degenerate Art.” Depressed and ill, he eventually committed suicide in Switzerland. The human figure was central to Kirchner’s art and art symbolizes future and past. Kirchner’s Expressionism opposed the French Impressionism, that was dominant in German painting, Edvard Munch ( another favorite of mine – Symbolistic) was clearly important in shaping his style. Kirchner believed like C.G. Jung, that powerful forces – enlivening yet also destructive – dwelt beneath the veneer of Western civilization, and he believed that exploring the depth of humanity an the richness of cultures offered a means of harnessing them. This outlook shaped the way in which he depicted men and women in his pictures, as people who often seem at war with themselves or their environment. Now, what is art anyway? To me art works are symbolic patterns, which have connotations that are unclear or hidden. They may have interferences with the Zeitgeist and references to the past, both integrated through and with the individual artist’s situation at a given moment. Art, like the symbol has a future in a psychoanalytic sense. To the psychoanalytic C.G. Jung, a symbol is a real instance of a collective or personal archetype from the past. I am too shy to make pictures of people in circumstances. which interest me, but I have many pictures in my mind. Come to think of it, with this blog, I sort and evaluate the many pictures my mind captured during business and private travel…

    Tell a story

     Vietnamese-child depicted in the Pulitzer Prize-winning photograph taken during the Vietnam War on June 8, 1972.
    Vietnamese-child depicted in the Pulitzer Prize-winning photograph taken during the Vietnam War on June 8, 1972.
    Great Depression Picture: A Mother of Seven Children by Dorthea Lange
    Great Depression Picture: A Mother of Seven Children

    Photojournalism, or documentary photography, captures time and place better than any other form of the art. It it’s an extremely demanding form of  photography, possibly the most demanding, because it requires a quick mind, careful attitude and the capability to see and tell a story. Photojournalists  have to understand a wide array of photography and are close to spontaneous street shooters.Street photographers and photojournalists deal with candid  shots, planned or unplanned, spontaneous moments found on public streets or political events. Documentary photos are best when they’re unfiltered, raw and  human. They are cruel, like the picture of left, an iconic photo taken in Trang Bang by AP photographer Nick Ut, but the may change the world. Realist photography is an interesting art form as it doesn’t seek to “create” but rather to document intensity exactly as it is, without embellishment. Dorothea Lange took the above photograph called, “Migrant Mother” which became one of the most iconic photographs documenting the dustbowl era during the Great Depression. Interestingly Lange didn’t go to college (as was more common then) and trained herself in her style of  photography. This emphasis my point you don’t need a formal education to become a huge success at a field you are passionate about. It takes empathy to photograph suffering. Lange had polio and her father deserted her at an early age. Composition of realism is often more powerful than effect, technique and Zeitgeist. If you look closely, the focus of the picture is on the hair of the child, not on the eye of the mother. That is considered as as technical flaw. Did it matter? Not only that, the picture would be powerful today, but would not be taken today. Not in Greece, with an unemployment of 25% nor in Syria, where weapon sales are up. Then the year was 1936. Unemployment was at 18%. The Dow Jones went UP 24% that year. Misery and stocks are often reciprocal correlated. Too often the headlines in the newspaper look the other way misery does not fit the narrative. Dorothy Lange took six pictures of this woman, who is named Florence Owens Thompson, but did not select a picture with all seven because she thought that would actually reduce sympathy people… Judge today’s realistic pictures – the ones, which are not taken and their substitutes.

    Disclosure of Sender – Composition and personal Style

    You may hear the word “composition” a lot when it comes to fine art and music. Composition has its roots in the Latin word “compositio” and refers, simply, to the way you combine the visual elements of your photo and define their relationship. This is the geometrical concept in the image, whether an object is  touching the far end of the frame or in the center of the photograph. Like a music piece, a photography thrives with forms, harmonies and contrasts. Composition is a key component of photography, and art in  general. There are a few ways to define them—generally, by arrangement of objects, lines, shape and color and light contrasts. Depending from your goal, static or dynamic patterns, harmonies or disharmonies, repetition or opposites will be utilized. It’s our job, as  photographers, to know what designs work—what lines and circles automatically soothe or upset our minds—and find them in the real world to support our goal.One great way to find  closure in ever-expanding landscapes is to look for leading lines. Leading lines are self-explanatory: they lead our eyes, usually from somewhere in the  bottom of the frame to somewhere in the top third, or from one side of the frame to another.

    Visual elements of a photograph:

    • focus: what areas appear clearest or sharpest in the photograph? What do not?
    • light: what areas of the photograph are most highlighted? Are there any shadows? Does the photograph allow you to guess the time of day? Is the light natural or artificial? Harsh or soft? Reflected or direct?
    • line: are there objects in the photograph that act as (leading) lines? Are they straight, curvy, thin, thick? Do the lines create direction in the photograph? Do they outline? Do the lines show movement or energy?
    • patterns: are there any objects, shapes or lines which repeat and create a pattern?
    • shape: do you see geometric or organic shapes? What are they?
    • space: is there depth to the photograph or does it seem shallow? What creates this appearance? Are there important negative spaces in addition to positive spaces? Is there depth created by spatial illusions?
    • texture: if you could touch the surface of the photograph how would it feel? How do the objects in the picture look like they would feel?
    • value: is there a range of tones from dark to light? Where is the darkest value? Where is the lightest?

    How visual elements are arranged within a photograph creates the a composition.

    • angle: the vantage point from which the photograph was taken; generally used when discussing a photograph taken from an unusual or exaggerated vantage point.
    • background: the part of a scene or picture that is or seems to be toward the back.
    • balance: the distribution of visual elements in a photograph. Symmetrical balance distributes visual elements evenly in an image. Asymmetrical balance is found when visual elements are not evenly distributed in an image. Where to place subjects may Golden Rule, Rule of the Third (canvas section partitioning(.
    • central focus: the objects(s) which appears most prominently and/or most clearly focused in a photograph. Background toned down by shallow depth field
    • composition: the arrangement or structure of the formal elements that make up an image.
    • contour: the outline of an object or shape.
    • contrast: strong visual differences between light and dark, colours, varying textures, sizes, etc.
    • framing: what the photographer has placed within the boundaries of the photograph. A frame inside the image itself adds dimension and closure.It can be natural or later chosen by cropping. When we talk about natural frames, we talk about anything that creates a frame within the shot—vines, branches and trees are typical; buildings or streets sometimes work.
    • setting: actual physical surroundings or scenery whether real or artificial.
    • vantage point: the place from which a photographer takes a photograph.

    How visual elements relate with each other within a photograph, also creates the a composition.

    • Emphasis – is someone or something – the major motif – placed at the end of the line?
    • Movement – lines arranged static(vertical/horizontal) or dynamic (diagonal)?
    • Conflict – do your lines intersect?
    • Depth: make your canvas look larger with a shallow depth of field.
    • Opposition – are some of the subjects opposites?
    • Geometric pattern – triangle combination, symmetry or asymmetry?
    • Infinity – if your lines circle inside the frame, what visual effect does it create?

    Negative space is another crucial  aspect to photographic composition. Often black or white, is the space not filled by anything—a clear blue sky, or a blank wall. Often it can be a powerful  statement on its own, or simply accentuate the subject of the photo. If the the subject isn’t centered, lines need to lead. Composition is one of the thing, where you can your personal style.

     The Message  – Motif and Technique

    Now, anyone can buy a Canon EOS 5D Mark II – which I happen to have – and take shots on automatic, but if you want to really delve into what makes the photo special, you need more to understand its points of autofocus, its full frame sensor and its white balance modes. To take good photos, you need to control only three things aperture (f-stop), shutter speed and light. Aperture controls depth of field.

    • The wider your aperture, the shallower your depth of field—f/1.4, for example, is a very wide aperture, so your camera lens will be wide open, if you want a deeper depth of field, you’ll need a narrower aperture—something like f/16, which will create a consistently detailed image. Typically, when capturing cities and landscapes, deeper depths of field are more desirable, so every detail of the frame appears in focus. This calls for a narrow aperture, or high f-stop. Portrait is the other way around. A standard f-stop is f/8, in photojournalism called: “f/8 and be there.”
    • Shutter speed, then, is the length of time that the shutter stays open for. If the object moves you need high-speed, in dim light, low-speed (long exposure). There is a limit what one can do without tripod. No photo shop trick can bring a wrong focus or blurred picture.
    • The last major  factor is the sensitive your camera sensor to light measured in ISO. It is a crucial control to image quality under variable lighting conditions. Outdoor during the day, it’s easiest to leave your camera on the lowest ISO possible. When shooting indoors, you’ll need a higher ISO—anything higher than 3200 becomes susceptible to noise. In astro-photography noise can be handled. But for regular shoots, ISO should be as low as possible, and as high as needed. Under dim conditions you are better of with a grainy, but a blurred picture.
    • Photography is often referred to as painting with light. When we talk about painting with light we talk about the process of creating a photograph. Photography derives from the Greek where photo means light and graph stands for painting. Quality, quantity, direction and how we can manipulate light to our advantage makes exceptional photography.
    • Every light is tinted a different color, which is adjusted either by automatic white balancing or with RAW pictures (standard) during post processing. As I said, technique is granted, but has to support your idea, motif, composition and so on.

    Communication Model evaluated with Four Eyes Model

    4Ears4Eyes

    Idea, Motif and Effect convey all communication aspects. A classical way to analyze communication is by the “Four Ears Model” by the German psychology professor and expert on inter personal communication Friedman Schulz von Thun. We used it extensively for communication and moderation training. Let me explain the model in a few words. For simplicity, let’s talk about a ‘sender’ saying something and a ‘receiver’ who is listening. Schulz von Thun postulates that there are four channels that we communicate on simultaneously, namely:

    • Fact channel: the facts communicated,
    • Self-revealing channel: what the sender says about him or herself,
    • Relationship channel: what is being said about the relationship between sender and receiver
    • Appeal channel: what the sender wants the receiver to think or do.

    Sender and receiver may favor different channels and have different “mouths” and “ears”:

    • Everybody talks with four mouths (channels).
    • Every message is received with four ears and may emphasis one and neglect the other.
    • Sender/receiver use different context to code & decode the message like gender, culture and so on.
    • There is an implicit relationship between them.
    • Sender/receiver may favor different pair of the „Four Functions“. Based on Carl G. Jung’s typology, people can be classified using four mental functions: sensing, intuition, thinking and feeling together with the attitude (extraversion-introversion), later used in the MBTI model.
    • Sender/receiver may be other personality types.  An extrovert deals more with the objective (rational in a Jungian sense), whereas an introvert relies more with the subjective ( irrational in a Jungian sense).
    4 Eyes
    4 Eyes

    This communication model can relative easily mapped to our visual sense, the most important one, for photography anyway. The Interaction or Communication of a photo can be evaluated with the Four Eyes Model (again Sender and Receiver have different ways of seeing or “eyes”):

    • The Storyline Eye maps to the Appeal channel. It has been the eye of medieval and early painting.
    • The Artist self-disclosure Eye maps to the Self-revealing channel. It has been the eye of modern art, particularly impressionism.
    • The Formal  Eye maps to the factual content channel. It has been the eye of the renaissance, classicism  and Bauhaus. Contemporary art often is is straight and only for the formal eye.
    • The Emotional Eye  maps to the relationship cannel. It has been the eye of romantic and impressionism.

    Form and Emotion or Self-disclosure and Storyline are often in dialog. A good combination of all four “Eyes” is desired, to stimulate different parts of the brain and conscious levels of the receiver (viewer) and transcends  time (Zeitgeist) and culture (civilizations).

    The communication model is mostly used for analytic purposes not for evaluation of quality. However, often contemporary visual art communicates badly (void or one dimensional) and/or imbalanced in regards of evaluation framework (e.g. totaly focussed on reception or effect), more mass product than art, often without any command of technical aspects.  Bad communication typically reflects bad art, but “beauty is in the eye of the beholder” (receiver).

    The Storyline Eye – media icones of modernity

    From the myriad of everyday pictures, a few images have greater power and are constantly quoted and reproduced, and worshiped,  defended but also attacked. There are images with iconic status, almost modern images of saints.
    guaranteed effect. According to art historians you need for photographic icons:

    • suggestion of authenticity
    • timely compression of story and action
    • dominant figure in the foreground (sign  character)
    • synaesthetic perception
    • imaginative image space
    SPAIN. Cordoba front. September, 1936. Death of a militiaman.
    SPAIN. Cordoba front. September, 1936. Death of a militiaman.

    Every good picture is telling a story, may want to persuade and influence us. Travel and News photography focus on it. The Vietnam picture, of the example above, is of course also an emotional appeal, but if you look closer, the smoke and the soldiers in the background are hard facts to back the story in the foreground. Those pictures are supported by clear forms and very strong compositions. The story line needs the right moment, only possible with intuitive anticipation and tease all four eyes.  The storyline is used in reportage, documentation and war photography. You need to be close to the action (or bullets), many good photographers use a wide angle. In this type photography, the composition around the main subject is key, representing the form and the action triggers emotions, and techniques (self-disclosure) supplement and emphasise the storyline.

    The Artist self disclosure Eye

    Every photo is an artists interpretation of reality and reflects his or her personality and personal style. The work of a good photographer can be recognized like a painting of an old master. A photographers choice of the subject (e.g. landscape vs. portrait) already reveals himself.

    The Formal Eye

    Symbol of totalitarian EU and fail Euro? european-central-bank
    Symbol of totalitarian EU and failed Euro? european-central-bank

    Lines, patterns, structures, the three-part rule, all guide the viewer. They are characters and words of the photographer’s language. The composition relies (ideally) on a universal language, concerned mostly with the rational level. Form gives structure and proportions define beauty.  Clear and simple form satisfies the human desire for rules and scientific laws.  In photography and painting  it is specifically used to transform three (or four) dimensions on a two-dimensional canvas. From Stonehenge to the Pyramids, from cathedrals to the ECB bankers temple, geometry matters (for the Greeks the divine language). Kepler apologized for using the (correct) ellipse instead of the (divine) circle in his planetary model. Form and abstraction go hand in hand – patterns and silhouettes, still life and architectural photography. Even nude photography and landscape focus on form. In architectural photography, the constructional attributes  of a building, representing the form, are complemented with lights (emotions), people (storyline) and techniques (self-disclosure).

    The Emotional Eye

    The emotional eye wants to connect to the viewer’s unconsciousness, his emotions and cultural background , concerned mostly with the irrational level. In a Jungian senses, they refer to the intuition of the photographer, using cunningly or unconsciously symbols and collective archetypes. Advertising or propaganda pictures are prime examples. In portrait, sport or animal photography, the main attributes are pose and body language representing the emotion, are complemented with composition (form), surroundings (storyline) and perfect light techniques (self-disclosure). In nature photography again all four eyes need to be satisfied. Nude photography lives for a hidden story not from bare skin.

    Conclusion

    Photography is art, which moves actually into the realm of painting and needs a not only technical skills, but solid visual analysis and understanding of psychology. Extensive equipment and post-processing capabilities may enhance technical quality and effect. That may satisfy the Zeitgeist,  but creates not necessarily art.

    Literature

    2006 DATA BECKER: „Die grosse Fotoschule – Digitale Fotografie“ (Martin Zurmühle)
    2010 Vier-Augen-Verlag: “Bildanalyse nach dem Vier-Augen-Modell” (Martin Zurmühle)
    2011 Vier-Augen-Verlag: “Bildbewertung mit dem Doppelten Dreieck” (Martin Zurmühle)
    2013 Vier-Augen-Verlag: “Bildsprachen zeitgenössischer Fotografen” (Martin Zurmühle)
    2014 Vier-Augen-Verlag: “Das grosse Lehrbuch Digitale Fotografie” (Martin Zurmühle)

    Phillip Knightley, The Eye of War. Words and Photographs of the Front Line, London 2003

    Best American Journalism of the 20th Century

    Hellmold, Martin (1999): “Warum gerade diese Bilder? Überlegungen zur Ästhetik und Funktion der historischen Referenzbilder moderner Kriege”, in: Thomas F. Schneider (Hg.), Kriegserlebnis und Legendenbildung.

    Glossary

    The following words are the basic vocabulary I use in describing photographs.

    • Photographic eye

      “Most people using a camera for the first time try to master the controls but ignore the ideas. They photograph intuitively, liking or disliking what they see without stopping to think why, and framing the view in the same way. Anyone who does it well is a natural photographer. But knowing in advance why some compositions or certain combinations of colors seem to work better than others, better equips any photographer.”

      • Image Frame (frame dynamics, cropping, stitching and extending, filling the frame, horizon.
      • Design Basics ( contrast, pattern and texture, balance, visual weight etc)
      • Graphic and Photographic Elements (covering horizontal, vertical and diagonal lines, curves, motion, focus, exposure).
      • Composing with Light and Color and black and white.
    • content: the subject, topic or information captured in a photograph.
    • direct approach: confronting a scene in a straight-forward manner, without using unusual angles or distortion.
    • documentary photography: photographs whose main purpose is to record a place, person(s) or event.
    • expressive: concerned with communicating emotion.
    • geometric shape: simple rectilinear or curvilinear shapes found in geometry, such as circles, squares, triangles, etc.
    • goal: reason(s) why the artist made a work of art.
    • landscape: an image that portrays the natural environment.
    • motif – the dominant subject or theme in a photograph (e.g. model, landscape)
    • objective: a point of view free from personal bias, which attempts to consider all available information with equal regard and fairness.
    • organic shape: shapes based on natural objects such as trees, mountains, leaves, etc.
    • representational: an image which shows recognizable objects.
    • subject: the main object or person(s) in a photograph.
    • theme: a unifying or dominant idea in one work of art or in a collection of works.