The Creation of Adam

hith-sistine-chapeOne of the paintings that still grabs the attention of every scientist and philosopher, trying to answer the mysterious questions that revolve around it is the “The Creation of Adam”; this piece of work is without a doubt one with the most deeply bewildered posterity. In this creative work, we are given a single awe-inspiring vision of the magnificence of God together with the potential goodness of man unprecedented and unequaled in the history of ocular art.
In the “Creation of Adam” the Lord is no longer standing upon earth with the eyes closed, but slithers throughout the heavens. He has the mantle spread out, bursting with saintly forms, His tranquil gaze complementing and emphasizing on the movement of His potent arm. As seen in the canvas, the Lord pulls out His forefinger, just close to touching that of Adam, who lolls on the lifeless coast of earth, not able to lift his hand yet? Clearly, the divine outward appearance is turned in, impulsive, fatherly; the human is concave, amenable, and evidently helpless. Here, the initial, contact that is about to occur between the two index fingers is always described as a “current”. The modern day electrical figure of speech-“current” could be uncommon to the 16th century; however, it is natural enough taking into consideration the river of life which appears ready to pour into the anticipating body.

In the book of Genesis a story is told on how the Lord created Adam from the dust of the earth, further the story reveals that the Lord blew the air of life into his nostrils. This story is never illustrated factually in new beginning art. It is impressive in this painting how the Creator stands on the ground and pours blessings to the body of Adam.
Michelangelo’s creative painting appears to be representing a still and auxiliary idea – the infusion of heavenly might in humanity, which in fact occurred at the manifestation. Cardinal Vigerio’s restated the firmness on the teaching book_of_genesisof the two Adams, alongside the situation of the scene straight away after the hindrance to the sanctuary, at the point where the proclamation regularly appeared, soon after Ezekiel had the revelation of the birth by a Virgin, this would no doubt seem innate enough. The scene pictures back the verses in the book of Isaiah, for instant, “Who has believed our report? And to who is the arm of the LORD revealed…” the theologians have always taken this to prefigure the manifestation of Christ.
In the painting, we have a couple of wondrous aspects which suggests that this could have been an opening suggested to Michelangelo by his adviser-Cardinal Vigerio. Analyzing all the figures around God in the painting, they could be angels; though, might be representing definite bible characters. There is a special interest in the woman and the child on the Lord’s left as His hand wraps the woman who touches the child. The question is, who could this woman be? Firstly, the woman might be Eve; she is eagerly looking on, probably she cannot wait for her turn to be put on Earth to be with Adam (her husband). As suggested earlier, the woman may also be the Virgin Mary and therefore, we could argue that the child next to her is Jesus Christ whom the Bible refers to as the second Adam. If at all the child is Jesus, he is probably looking away because he is aware that Adam will be sinning which will result in Jesus’ future death as a way of paying the price for the sin. I would say this is just a portion of mystery that has been unlocked in this paint, again the question is, what else do you know about the “Creation of Adam?”