Trinity Sunday Year A

Art and Faith on Trinity Sunday

The Creation of Adam

The Creation of Adam (detail from the Sistine Chapel ceiling),
fresco, 1508-12, Michelangelo, 1475-1564

Commentary by Hovak Najarian

“A picture is worth a thousand words,” is a much-quoted statement that sometimes is attributed to Confucius, but this observation is neither completely true nor oriental in origin. The quote originated in America and gained attention from commercial advertising in the 1920s. In some instances a picture or schematic image may be clearer than a complex verbal description, but there are times also when ideas found in words are impossible to illustrate by means of art. The creation story in the Book of Geneses is far less than a thousand words, yet a single painting cannot depict adequately all of the events contained in the narrative.

When artists depict subject matter from the creation, they tend to select the more dramatic events. Michelangelo’s ceiling of the Sistine Chapel excludes the third day when grass, herbs and trees were created, and omits the fish and fowl that were created on the fifth day. The frescos begin with God separating light from darkness and is followed by the separation of water from the land. In the third panel God is shown creating the sun, moon and planets. The well-known fourth panel depicts the moment God gave life to Adam.

In, The Creation of Adam, Adam is reclining on the earth in the relaxed manner of Roman river gods. His left forearm is resting on a knee and his hand is extended as God reaches into the empty space that separates them. They do not touch but there is a sense that in the small space between their fingers, the spark of life, like an electrical arc, has been passed from God to Adam.

An oval shaped cloak serves as a backdrop for God and he is surrounded by figures. It is in our nature as humans to make connections and project meaning onto things we see. A long-standing belief is that the woman in the crook of God’s left arm is Eve. Because God’s hand is touching a child that is next to the woman, however, it has been suggested recently that she may be the future Virgin Mary and the child is Jesus.

Much has been written about what Michelangelo was attempting to communicate in this painting and most of it is speculation. When an imaginative medical student saw, The Creation of Adam, the cloak and figures around God, brought to mind the shape of a human brain. From this, he thought it was possible that Michelangelo was intending to indicate symbolically that while life was being given to Adam, the gift of intellect also was being bestowed. This interpretation has captured the fancy of people who look for secret meanings. The suggestion that intellect was being given to Adam is repeated now even by tour guides at the Sistine Chapel. There is no incontrovertible evidence that a cryptic message was placed in this painting.

Hovak Najarian © 2017

Wind Chimes: 12 Mar 2013


What do you hear in the chimes?
As the conclave to elect a pope begins …

Today (3/12/13) 115 Roman Catholic Cardinals will share the Eucharist in St. Peter’s Basilica at 10am CET. At 3:45pm CET the cardinals will file into the Sistine Chapel; shortly after they are seated those who processed with them will then be ordered out and the cardinals will begin their work to elect the next pope. Around 7pm the results of the first (and only) ballot of this day will be made known to the public via the black or white smoke leaving the chimney atop the Sistine Chapel.

This is an important election for all Christians, not just Roman Catholics. The man who becomes pope and leads the 1.2 billion Roman Catholics worldwide will influence, for better or worse, the work of all Christians. Please join me in praying for the cardinals as they work to elect a pope, and please pray for the man who is soon to be elected. May God be glorified in the work of electing and in the man who becomes pope; may the nurture and welfare of all God’s people and, indeed, all of God’s creation be a joyful ministry of the new pope.

To see a virtual tour of the Sistine Chapel click here. This is where the cardinals will meet and pray and elect the next pope.

DivLine360x12 We know “the wind blows where it will” and the sound in the chimes defies prediction. How like the Spirit this is. What do you hear? Please leave a comment.

The mural and the fresco

Editor’s Note: Hovak Najarian, Art History Professor Emeritus from College of the Desert, will begin to help us understand the art that informs our faith and understand the faith that informs our art. In our lectionary on Sunday we read from Numbers 21:4-9. Michelangelo’s fresco the Brazen Serpent, from the ceiling of the Sistine Chapel, opens up this scene from the Exodus. Enjoy the art, enjoy this background to the art. Keep learning.

Become more familiar with often encountered terms:

Mural:  A mural is a large work of art that is usually created directly on a large architectural surface.  The murals on the ceiling of the Sistine Chapel often are referred to as “ceiling frescos” because the fresco process was used to paint them.  In the same manner, critics often refer to an oil painting simply by its medium, “oil,” but all paintings are not oils and all murals are not frescos  The terms mural and fresco are not synonymous.  Mural identifies a work’s category (the type of work that it is) and fresco refers to its medium (the material that is used to make it).

Fresco: In the fresco process, an artist paints directly on wet plaster with water based pigments.  Before painting begins, a plasterer covers an area of a wall (or ceiling) according to an estimate of how much the artist believes can be painted before the plaster sets.  While the plaster is still moist, the pigment is absorbed into its surface and when it is set the pigment becomes an integral part of it.  The pigment is not on the wall or ceiling, it is within its surface.

If a plastered area has set before it can be painted it is no longer capable of absorbing pigment and must be chipped off.  A fresh area of plaster is spread on the wall before work continues.  The removal of plaster is done along a contour of a figure in order that a seam is not apparent.  This procedure is repeated until the mural is completed.  It is a time consuming and messy process and is seldom used now unless a particular effect is desired.  Michelangelo worked on the ceiling frescos of the Sistine Chapel from 1508 to 1512 AD.

Sistine Chapel: This chapel is named “Sistine” because it was Pope Sixtus who had it restored in the latter part of the fifteenth century.

______________
© 2012 Hovak Najarian