Absolute Symmetry
Absolute symmetry is the symmetry type when all parts of the drawing or design are created to look almost identical. It means mirroring the left part of the image exactly onto the right part or top to bottom. This type of symmetry is often used in decorative or ornamental art, such as in the design of rugs or wallpaper. Absolute symmetry creates a sense of stability and balance, but can also be repetitive and lack visual interest.
An example of a painting with such symmetry is the cross-inscribed carpet page from the Lindisfarne Gospels (c. 698–721), shown in Figure 1. It is a pattern on the Gospel cover of the early Middle Ages, and it uses a symmetrical mirrored pattern on both sides (Fichner-Rathus 318). Its left and right sides are almost identical, except that the green pattern close to the central vertical symmetry line is flipped toward each other. Its green, blue, and golden patterns are almost exactly similar on both sides, and the forms of the book cover’s red cross and green contour are exactly symmetrical. Therefore, it is an absolute symmetry work, which represents why this type of symmetry is usually used: for patterns and applied purposes rather than in art generally.
Approximate/Bilateral Symmetry
Bilateral symmetry is used widely to show the balance between the drawing’s parts. This type of symmetry is often found in representational art, where the artist seeks to create a sense of harmony and balance in the composition. The slight differences between the two sides can also create a sense of tension or movement in the image. It is the compromise option: it is not as formal as absolute symmetry but is not unbalanced, such as asymmetrical composition.
Many works use bilateral symmetry, one of which is Miriam Schapiro’s painting Maid of Honour (1984), shown in Figure 2. The artist painted it with acrylic and fabric on canvas, and while it looks similar on both sides, it is not the same, unlike the previous work (Fichner-Rathus 131). Colored patterns are different in color and form on the left and right sides, and the flowers in the middle vertical line are different, too: she probably did not want to make the work too symmetric. If one looks closely at the white form, one will also notice slight differences in its appearance on the left and right sides. Thus, while the Maid of Honour is a symmetrical work, it lacks absolute symmetry, as its patterns and flowers are different on both sides, which makes the art piece look more dynamic.
Asymmetry
An art piece can be considered asymmetrical if all of its visual weight is concentrated on one side. In addition, asymmetry can be achieved through contrasting elements, such as light and dark or curved and straight lines. This type of composition is often used to create a sense of visual interest or to convey a message or mood. While asymmetry can create a dynamic and visually engaging composition, it is also more challenging for the artist to create a sense of balance and harmony within the image.
An example of asymmetric work is the well-known The Persistence of Memory (1931) by Salvador Dalí, shown in Figure 3. He depicted a twisted tree and clocks on the left side of the painting and one strange form in the middle, while on the right side, there are only distant mountains (Fichner-Rathus 479). It creates a feeling of imbalance, and together with the overall surrealistic appearance of Dali’s work, makes the art piece highly dynamic, conveying the feeling of deliberate and constantly moving time.
Work Cited
Fichner-Rathus, Lois. Understanding Art. 11th ed., Wadsworth, 2017.