The Creation of Adam
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Template:Painting The Creation of Adam is a fresco in the Sistine Chapel, painted by Michelangelo Buonarroti circa 1511. It illustrates the Biblical story from the Book of Genesis in which God the Father breathes life into Adam, the first man. Chronologically the fourth in the series of panels depicting episodes from Genesis on the Sistine ceiling, it was among the last to be completed. It is arguably one of the most famous images in the world.
God is depicted as a bearded old man wrapped in a swirling cloak that he shares with some cherubim. His left arm is wrapped around a female figure, normally interpreted as Eve. As Eve was not created until after Adam, she could possibly be Adam's first wife, Lilith. His right arm is outstretched to impart the spark of life from His own finger into that of Adam, whose left arm is extended in a pose mirroring God's.
The similar poses of God and Adam – the positions of God's right leg and Adam's left are, for instance, nearly identical – reflect the fact that, according to Genesis 1:27, God created man in His own image. At the same time God, who is airborne and appears against ovoid drapery, is contrasted with earthbound Adam, lying on a stable triangle of barren ground (Adam's name comes from a Hebrew word meaning "earth").
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The inspiration for Michelangelo's treatment of the subject may come from a medieval hymn called Veni, Creator Spiritus, which asks the 'finger of the paternal right hand' (digitus paternae dexterae) to give the faithful speech, love and strength. [1] (http://www.preces-latinae.org/thesaurus/Hymni/VeniCreator.html)
Adam's index finger, the most famous in Western art alongside God's, is in fact not the work of Michelangelo. It was damaged beyond repair by a crack that appeared in the ceiling in the mid-16th century and was repainted by a papal restorer.
Starting in 1980, the Sistine Chapel was renovated, to remove centuries' worth of ashes and deterioration that had degraded the paintings. Following the restoration, the vibrant colors in the Creation of Adam (which had long since been dulled by the ashes) returned.
In 1990 a physician named Frank Lynn Meshberger noted in the medical publication the Journal of the American Medical Association that the background figures and shapes portrayed behind the figure of God appeared to be an anatomically accurate picture of the human brain, including the frontal lobe, optic chiasm, brain stem, pituitary gland, and the major sulci of the cerebrum.
References
- Day, Fergus & Williams, David (ed.) (1998). Art: A World History
- Meshberger, Frank Lynn. "An Interpretation of Michelangelo's Creation of Adam Based on Neuroanatomy", JAMA. 1990 Oct 10; 264(14):1837-41.
- Letters in comment: JAMA. 1991 Mar 6; 265(9):1111.it:Creazione di Adamo (Michelangelo)