Geoscience Reference
In-Depth Information
3- What can be beautiful in a (early) map?
K. Kuchař asks this question during his lecture. Because
beauty
is one of
aesthetic categories this question is logically appropriate, also in terms of
aesthetic assessment. K. Kuchař (1974) chooses a relatively easy way to
distinguish between the content and the form (even though a number of
theories of art today consider this dualism of content and form as outdated,
in cartography it is very illustrative), he focuses especially on form and
rendition because the map's content is already given to a certain extent.
3.1 Map format, sheet composition, use of space
Kuchař considers the
map format
(or sheet or map field format) rather es-
sential. Even though it is often given by the area represented, rules used
(not only in fine) art can be used to determine it. He deals primarily with
the famous golden section (sectio aurea), when the sides of a rectangular
format (map) have the ratio of approximately 1.618 03. This phenomenon
is discussed in more detail by a number of authors, recently for example by
M. Livio (2006).
The
sheet composition
poses another important aspect, where it is impor-
tant how the surface is filled and whether it is harmonically divided, as
well as its overall use (Kuchař 1974). All the compositional elements come
into play (frame or bordering of the map field, title, scale, north indicator,
key and other space around the map field). Either axis (vertical or horizon-
tal) or central symmetry is used, asymmetric (corner) position of the title
can have an especially interesting effect but it is rather difficult to compose
the sheet in an asymmetric manner (ibid.). In connection with composition
so called optical centre and orientation of the map (horizontal × vertical)
on sheet is often mentioned (Bláha 2003).
However, early maps are well-known to
use
empty
space
, either directly in
the map field (so called unexplored areas where the lions live; hic sunt
leones) or outside it. So called fear of emptiness (horror vacui) is also
often mentioned, when map creators strived for a more even filling of the
space of the map, which was extremely difficult particularly at the time of
little geographical knowledge. The space was filled with decorative com-
positional elements (see below) or figurative representation, in particular
allegories
of geographic or economic reality (e.g. Müller's maps), histori-
cal scenes (in the form of so called parergas), using
personification
of
