A picture of two men reaching out to each other. “The Creation of Adam” - Everything secret will become clear

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The book of Genesis of the Pentateuch of Moses sets forth the “theory” of God’s creation on Earth of the first man in His image and likeness. In the work of the famous Italian artist Michelangelo's "Creation of Adam" from the Middle Ages used exactly this biblical story.

Michelangelo's painting "The Creation of Adam"

This work belongs to the fresco painting technique that reached its highest development in Renaissance Italy:

1. The classic technique for painting this way is to use paints applied over wet plaster. The latter contains lime, which, when dried, covers the image with a thin film of calcium salts and thereby gives it strength for a long time;
2. This creation of the artist (even more than a sculptor) was created in this manner during the period of his work in 1508-1512 on the painting of the ceiling (ceiling) Sistine Chapel in the Vatican. It was the central link of a huge composition, which was commissioned by Pope Julius II.
3. It is believed that the author based the plot of the fresco on the process of “ensouling” by the Almighty beautiful body young men, transforming it as a result into a living being, endowed with a soul and vital energy. This is evidenced by the gestures of the hands of God and man, directed towards one another, symbolizing their mutual attraction. It seems that they are about to close... however, this is not a fact, it is only an illusion. The heavenly and the earthly are separated here.

How did Michelangelo fulfill the order of Pope Julius II?

The process of work was not at all easy for the artist in every sense.

Being generally more committed to the art of sculpture, Michelangelo was by no means eager to paint frescoes on the ceiling of the temple. He did not have such experience, and he received this specific order from the pope as a result of the intrigues of his ill-wishers.

Initially, Buanarotti asked familiar artists to help him master a new style of painting, but he quickly understood everything and refused their services, preferring to work alone. True, two assistants worked with him, one of whom mixed the paints, and the other covered the surface with lime, on which the master subsequently applied his brilliant strokes.

By the way, it was not at all easy to do this psychologically and even purely technically, since the specifics of this type of art did not allow corrections and amendments. I had to work straight away. Here the artist was helped by the talent of the sculptor and the “volumetric vision” of the future image, he even felt a taste for a new business.

True, after its completion, it took me a long time to come to my senses after constantly seeing the paintings from bottom to top, since I had to work lying down. For some time he even read books only in this position.

Where is the painting?

From all of the above, you already understand that it is one of the frescoes (but the most important) on the ceiling of the Sistine Chapel in the capital of Italy - Rome:

• The latter is now Renaissance Art Museum, and since that time conclaves have been held in its premises - the election of each new Pope. Its famous church choir is also widely known;

• The chapel was built in the last quarter of the 15th century by order of Pope Sixtus IV (from which it received its name) and at first it was a house church. The architect and construction manager was Giorgio de Dolci;
• The walls and ceiling of the temple were painted by famous medieval artists, among whom, in addition to Michelangelo, are Raphael, Botticelli, Perugino, Ghirlandaio, Roselli and other famous masters;
• In a grandiose fresco composition on the rim of the church, the artist placed 9 paintings from the Holy Scriptures from the creation of the world. Among them, in addition to the one mentioned, there are also picturesque stories about the separation of land from water and light from darkness, the Fall and expulsion from paradise, the creation of luminaries, etc.
• The last reconstruction of the chapel frescoes was carried out at the end of the 20th century.

What does "Creation of Adam" mean?

The artist embodied in his temple paintings episodes the creation of the world and its inhabitants as he himself was, and as he understood the world.

The Genesis of Moses says that God created man from the dust of the ground and placed a soul in him so that he became a living being. Michelangelo's frescoes speak of the process of creation in terms of earthly, physical, carnal activity.

Even the Almighty appears to him not as a philosophizing old man, but as a powerful and active old man. He seems to translate words from a spiritual state into a bodily sensation.

Being himself a fighter, he, in his illustrations of the first book of Holy Scripture, shows the power of Divine inspiration and his real results, when a harmonious Universe emerges from the surrounding Chaos. He shows his vision of the events of the Book of Genesis, not paying attention to established opinions and interpretations of this on the part of the church.

The result is a conscious humanization of God, but at the same time he depicts the process of Adam’s awakening to life precisely by the power of the spirit, without physical contact.

It was as if a spark of God ran between them, the main spiritual impulse that finally made him exactly human.

The Sistine Chapel as a symbol of power

The semantic meaning of the term “chapel” is quite diverse:

• It concerns both architectural structures relatively small forms such as the House Church for one family (although there are also separate buildings large sizes), as well as the place inside the temple where the choir of singers was located, and the name of this choir itself.
• In many dictionaries, singing ensembles are called cappella, and singing “a cappella” means without musical accompaniment, in one voice;
• This word is often translated into Russian as chapel, which is not entirely accurate, since the latter is not intended for worship and does not have an altar, as in specific Catholic churches. The latter includes the famous Sistine Chapel.

However, during its construction, the architects were given a dual task: in addition to purely specialized religious functions, it was supposed to serve as a fortress for representatives of the papal authorities during popular uprisings. This problem was solved: from the outside the building is shaped like a bastion, and from the inside, by the luxurious design of the courtyard, walls and ceiling, it shows the greatness and significance of the church's papal power.

Michelangelo's ingenious fresco "The Creation of Adam" was created more than 500 years ago, but still amazes the imagination. This is the power of true talent.

Video: what else could Michelangelo’s creation mean?

IN this fragment from the TV series Westworld will present another version of what the Creation of Adam mural could mean:

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Famous paintings and hidden codes hidden in them:

1. Mona Lisa: the real hidden code in her eyes

The intrigue usually lies in her mysterious smile. However, when examining the painting under a microscope, historians in Italy discovered that when they pointed a magnifying glass at the Mona Lisa's eyes, tiny numbers and letters could be seen.

Experts say the subtle letters and numbers are something out of The Da Vinci Code real life: In the right eye, the letters LV can be discerned, which may well represent his name, Leonardo Da Vinci, while in the left eye, there are also symbols, but they are not as clearly distinguishable. Of course, it is very difficult to identify them exactly, but they appear to be the Latin letters CE, or E may actually be the letter B. On the arch of the bridge, visible in the background, you can see the number 72, or Latin letter L and the number 2. Additionally, the number 149, with the fourth number erased, is on the back of the painting, suggesting that da Vinci painted it while he was in Milan in the 1490s.

It should be taken into account that this painting is almost 500 years old, so it is no longer as crisp and clear as when it was created.

2. Last Supper(Last Supper): Math and astrology puzzle, plus secret notes

The Last Supper has also been the subject of many hypotheses, mainly regarding the supposed hidden messages or hints that are present in the painting.

Information technologist Slavisa Pesci created an interesting visual effect by overlaying translucent, mirror reflection paintings on top of the original. As a result, two figures appear at either end of the table who appear to be Templars, while a person, perhaps a woman with a baby, stands to the left of Jesus.

Italian musician Giovanni Maria Pala also pointed out that the positions of the hands and loaves of bread can be interpreted as notes on stave, and if read from right to left, as was characteristic of Leonardo's writing method, they amount to musical composition.

Vatican researcher Sabrina Sforza Galitzia says she has deciphered the mathematical and astrological puzzle in Leonardo's painting The Last Supper. She said he foresaw the end of the world in " global flood", which will begin on March 21, 4006 and end on November 1 of the same year. She believed that this flood would mark "a new start for humanity."

3. Creation of Adam: Floating Brain Deity

Michelangelo's painting entitled "The Creation of Adam" is not only the known part The Sistine Chapel, but also one of the few legendary images of humanity.

Michelangelo is considered one of the greatest artists and sculptors of the era Italian Renaissance. However, not everyone knows the fact that he was very interested in anatomy and at the age of 17 he began to dissect corpses, which he took from the church cemetery.

A pair of American experts in neuroanatomy believe that Michelangelo actually left some anatomical illustrations in one of his most famous works- Sistine Chapel.

While some may consider this a coincidence, experts suggest it is more difficult to explain that the anatomical context was not in Michelangelo's painting. Even complex components of the brain can be found in the painting, such as the cerebellum, optic nerves and pituitary gland. As for the striking green ribbon running along the pons/spine/man who supports God, it perfectly matches the location of the vertebral artery.

4. Sistine Chapel: another image of the human brain, but from below

As in the case of the masterpiece "The Creation of Adam", according to experts, on the panels of the Sistine Chapel there is another figure of God with secret code.

They noticed that the throat and chest of the God in the painting were depicted with anatomical inconsistencies not found in any other figure in the fresco. Additionally, while the light falls on the other figures diagonally from the lower left corner, the God's neck is illuminated by direct light. They concluded that it looked awkward and must be the deliberate work of genius.

By superimposing a strange image of God's neck onto a photograph of a human brain below, they showed how exactly the two images matched. They added that the strange bolt of cloth that extends to the center of God's robe could be a representation of the human spinal cord.

The lumpy neck in God's image (A) corresponds to a photograph of a human brain as seen from below (B), and (C) shows various parts of the brain apparently hidden in the painting.

Scientists say Michelangelo also depicted other anatomical features elsewhere in the ceiling, notably a kidney, which was a familiar sight to Michelangelo and was of particular interest to him because he suffered from kidney stones.

5. Madonna with Saint Giovannino: UFO sightings

In addition to drawing our attention to the rock-hard muscles of the Baby Jesus, Domenico Ghirlandaio's Madonna with Saint Giovannino also features an interesting little drop floating in the sky above Mary's left shoulder.

Above Mary's left shoulder is a disc-shaped object that appears to sparkle. The artist depicted this object in great detail so that it was clearly visible in his work of art. On the right side of the picture there is a man holding right hand above the eyes, indicating that this object was very bright, and in the upper left corner there is an object similar to the sun.

"Madonna with Saint Giovannino" by Domenico Ghirlandaio is just one of many medieval paintings that depict strange, frightening unidentified flying objects.

6. Zechariah (Prophet) (Prophet Zechariah): Insulting a religious authority figure

The disagreements between Pope Julius II and Michelangelo have been well documented. Historians note that Michelangelo painted a portrait of the pope as the prophet Zechariah, and that one of the angels located behind him shows him an extremely obscene gesture.

Charming Small child shows a fig, and this is not a sweet fruit, it is a real finger fig and its meaning is not nearly as sweet as the fruit of the same name. Thrusting thumb hands between the index and middle fingers, he makes a gesture that in the old world was practically the equivalent of showing the middle finger in our days.

7. David and Goliath: mystical signs of Kabbalah


Scanning the arrangement of figures on the huge ceiling of the Sistine Chapel, an area of ​​1300 square meters, the authors found shapes that correspond to Hebrew letters.

For example, the figures of David and Goliath form the shape of the letter "gimel", which symbolizes "strength" in the mystical tradition of Kabbalah.

The authors believe that Michelangelo gained knowledge of Judaism while he was at the court of Lorenzo de Medici in Florence, and the entire Sistine Chapel, which is supposedly built in the same proportions as the Holy Temple in Jerusalem, is a “lost mystical a message of universal love” that had to be deciphered.

8. “Flemish Proverbs” (Netherlandish Proverbs): the plot of the picture contains 112 Dutch idioms


"Flemish Proverbs" is an oil painting on oak panel dated 1559. Its author is Pieter Bruegel the Elder, who depicted a land inhabited by literal images of Dutch proverbs of those days.

The painting contains approximately 112 recognizable idioms. Some of them are still used today, for example, such as: “swim against the current”, “banging your head against the wall”, “armed to the teeth” and “big fish eat little fish”.

Other proverbs reflect human stupidity. Some figures appear to represent more than one figurative expression, such as the man shearing a sheep to the left of center at the bottom of the painting. He sits next to a man who is slaughtering a pig, which represents the expression "someone shears sheep and someone slaughters pigs." This expression means that one person has an advantage over another, but it can also represent the admonition to "cut 'em, but don't skin 'em," that is, make the most of your savings, but don't blow them completely.

9. Supper at Emmaus: Recognizing the Law of Silence for Christians


“Supper at Emmaus” is a painting painted by the artist Caravaggio in the Italian Baroque style.

The painting depicts the moment when the resurrected, but unrecognized Jesus, shows himself to two of his disciples in the city of Emmaus, and then disappears from sight.

The painting is unusual because of the life-size figures and the dark, empty background. There is a basket of food on the table, which is balanced precariously on the edge of the table. There is also a striking shadow in the painting, resembling a fish in outline, which may indicate the recognition of the law of silence for Christians.

10. Portrait of young Mozart (Young Mozart's Portrait): signs of the Freemasons

Of course, artwork could not help but touch upon Freemasonry. Portraits of people who hide their hand can indicate dedication to a cause or level in the hierarchy. An example of such portraits is this anonymous portrait of Mozart (possibly painted by the artist Antonio Lorenzoni).

The painting of the Sistine Chapel by the great Michelangelo Buanorotti in the Sistine Chapel is, of course, first and foremost an outstanding work of art. Including the fresco “The Creation of Adam” with two main characters: God the Father and the newly created Adam.

This fresco was created in 1511 (or thereabouts). It became the fourth of nine central compositions on the ceiling of the Sistine Chapel, dedicated to nine scenes from the book of Genesis of the Old Testament.

Let's remember the line related to this fresco:

And God created man in His own image

(Gen. 1:27)
However, this is not entirely accurate. In a good way, here man has already been created, and therefore new nuances appear in the interpretation of the fresco.

It is very likely that there is a third in the plot of this work of art. main character, and it has direct relevance to neuroscience and neuroscience. Dr. Frank Lynn Meshberger, a gynecologist at St. John in Anderson, Indiana, in an article published in 1990 in the Journal of the American Medical Association, An Interpretation of Michelangelo's Creation of Adam Based on Neuroanatomy, believes that this hero is the human brain.

Indeed, all of Michelangelo's works in the field visual arts- both painting and sculpture speak of the master’s excellent knowledge of human anatomy. Just remember the amazing work human body in "David". Even in his Lives of Artists, Michelangelo's contemporary and colleague Giorgio Vasari recalls that the artist often observed autopsies. This is what made it possible for Meshberger to suggest the presence of some hidden message in this fresco.

Here's what he writes himself:

The Creation of Adam fresco shows Adam and God moving towards each other, their hands outstretched, their fingers almost touching. One can imagine the “spark of life” jumping from God to Adam through the “synapse” between the index fingers. However, Adam is already alive, his eyes are open, and he is fully formed; but nevertheless, the picture tells us that Adam “receives” something from God. I believe there is a third "protagonist" in the fresco that has not previously been recognized. I will try to show using anatomical drawings by Frank Netter from The CIBA Collection of Medical Illustrations, Volume I - The Nervous System.

Let's follow Meshberger's thought.

Here are four drawings, numbered 1 to 4:

As you can see, the first and second drawings are very similar, as are the third and fourth. Numbers 1 and 3 are drawings from Frank Netter's atlas of neuroanatomy.

Figure 6 (numbered according to the cited article) shows the left lateral surface brain and the sulci and convolutions that are present in the hemispheres. The Sylvian fissure, or lateral fissure, is a fissure that separates the hemispheres of the brain. Figure 1 - outline this illustration.

Figure 8 is a cross-section of the brain and spinal cord shown in Figure 7. Figure 3 is obtained from Figure 8 by removing the cerebellum and midbrain structures, as well as “bending” the spinal cord back from the “standard” anatomical position.

And now - surprise! Figures 2 and 4 are drawn... from the image of God and angels in Michelangelo's fresco. Figure 2 is obtained by drawing the outer “shell” and grooves, and Figure 4 is the outer “shell” and large lines on the figures of God and angels.

Don't believe me? See:

Thus, Meshberger believes that main meaning the frescoes are not the creation of Adam as such, but the endowment of him with reason, so that he “would be able to plan the best and highest” and “try to achieve everything.”

The fresco “The Creation of Adam” is without a doubt one of the most famous works Michelangelo. For the first time in the history of world art, God the creator and the man he created are on equal terms.

Creation of Adam

1510; 280x570 cm; fresco
Vault of the Sistine Chapel, Vatican

The compositional and semantic accents in this picture coincide: the fingertips are about to touch the hands extended by God and Adam, which creates a tense and exciting expectation of the “carving of a divine spark” from this touch and creates in the viewer a feeling of involvement in the great mystery of the creation of man.

Adam lies in all the splendor of male nakedness, but he is not yet alive. He can only raise his powerless finger. And the Lord Almighty comes down to meet him. There is a whole world in his huge developing cloak. There's a face in the center - whether it's Eve or not, it's human face, looking straight at Adam, challenging him. And the finger of God touches the finger of man.

In the Gospels of Luke and Matthew, the Finger of God is identified with the Holy Spirit - the mediator between the Creator and his creations. Touching with fingers - a gesture proposed by the artist as a symbolic embodiment of life itself - reveals the essence of the relationship between man and God, their inextricable connection.

In addition, by placing the figure of the first man on a sloping surface, the artist creates the illusion for the viewer that Adam is at the very edge of the earth, at the abyss. This is probably why we are so impressed by these two hands outstretched towards each other, symbolizing the connection between two worlds - the earthly and the divine. Moreover, the Lord’s hand is more tense, his gaze is stern, he is full of determination.

Adam is still weak, the breath of life is not yet felt in him, however, obeying an unknown impulse, he, as if with the last of his strength, stretches out his hand - notice how much hope and expectation there is in his eyes directed towards God! And the artist captures that exciting moment when, in response to his not yet fully conscious, but obvious quest divine man receives a soul - the highest reward of the Creator.

In this work, Michelangelo once again proves his ability to “sculpt” the relief of the human body using painting. Ascanio Condivi, Michelangelo's student and biographer, emphasized that

What does this picture say? "The Creation of Adam" by Michelangelo Buonarroti

“The Creation of Adam” (Sistine Chapel, Vatican, Rome, 1508-1512) is the fourth of nine central compositions of the cycle of frescoes on the theme of the creation of the world, commissioned by Michelangelo Buonarroti to decorate the ceiling of the Sistine Chapel by Pope Julius II.

“WE ARE BORN AT THE MOMENT OF SEPARATION”
, psychoanalyst:
“The first thing I feel here is a moment of unique meeting, which is full of energy and strength. God rushes towards Adam to breathe life into him. Now their fingers will close - and the flaccid body will be born, gain strength, life, and fire will be lit in Adam’s eyes. But at the same time, I have a subtle feeling that God and his retinue are moving in the other direction, flying away from Adam. This is indicated by the figures of a woman and a baby; they seem to push away from him, and thereby set the reverse movement. Why?
I suppose that Michelangelo unconsciously painted here not a meeting, but the moment of parting that followed it. God personifies both the paternal and maternal principles at the same time, their union leads to the birth of a child - the baby Adam. The maternal principle of God is conveyed through the red veil, which I associate with the maternal womb, with the maternal universe, the womb, in which many future lives, potential human “I”s, are born. The hands of Adam and God stretched out towards each other are like an umbilical cord that was severed a moment ago, and it is this moment of separation that I observe in the picture. And in this case, Adam’s melancholic pose conveys not the absence of life, but the sadness of parting. He does not yet know that only thanks to such a separation can he be born as a person, as a separate “I”.
The fingers of God and Adam in the picture are like a painter's brush, and I think this is very important. Michelangelo unconsciously lives the story of separation from two sides - both as Adam and as the Creator. I see here not only the sadness of a child abandoned by a parent, and the sadness of an artist forced to say goodbye to his brainchild, his painting. But also the artist’s determination to take this step. After all, only when he finds the strength to part with his creation will the painting be completed and be able to live its own life.”

Michelangelo Buonarroti (1475-1564), Italian sculptor, painter, architect, outstanding master Renaissance. All over the world, the name Michelangelo is associated with the frescoes of the ceiling of the Sistine Chapel, the statues of David and Moses, the Cathedral of St. Peter's in Rome. In the art of Michelangelo, deeply human ideals were embodied with enormous force. High Renaissance, as well as the tragic feeling of crisis in the humanistic worldview, characteristic of the late Renaissance era.